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This movie is based on a true story as written in A.P. Scotland's autobiography "The London Cage". The plot has greatly exaggerated the actual events of A.P. Scotland's experiences, including the addition of a fictional love interest.
A great murder mystery. The only clue to a mad killer's identity is his shoes! The crime's only witness saw them while she was bent over picking something up. Duryea is fantastic as the "... See full summary »
When a baby is snatched from outside a high street pharmacy, the police begin a painstaking search for clues and information whilst also trying to deal with the child's distraught parents.
Green's film is very much of its time, and there's nothing wrong with that in 1956 Britain we thought nothing of leaving a baby in its pram outside a store. Small shops ran library services, small grocers and bakeries thrived, large supermarkets were a thing of the future and London's parks were awash with uniformed armies of perambulating nannies
In the lead, Farrar is a little dull but this is perhaps more the fault of the script, which leaves little space for character development. As the baby's parents, Knight and Arnall both struggle with the challenges their parts bring, although certainly the script serves them better than Farrar, exploring the different emotional impacts a lost child can bring with both characters reacting differently. Green is better served by a delightful array of supporting character actors, each of whom savours the few lines they are given. This was a hallmark of British cinema in the 40s, 50s and 60s, where so often the supporting and bit players were much more believable and entertaining than the leads witness Joan Hickson's amusingly patronising tone with her teenage customers (one of whom is Barbara Windsor!) in the chemist shop, or ice cream seller Joan Sims' hilarious gossiping about keeping her hairdo intact in an open top car. Thora Hird is hysterical as a caustic landlady, disapproving of plain-clothes policewomen, whilst Everley Gregg offers a sublime turn as a 'no nonsense' Viscountess in oily overalls.
All in all an enjoyably episodic story, coloured with fascinating location shooting and wonderful cameos, and a treat for anyone interested in Britain or British cinema in the 1950s.
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