Showing posts with label Patric Doonan. Show all posts
Showing posts with label Patric Doonan. Show all posts

Blackout (1950)

Blackout (1950) is a British recuperating crash victim voiceover wrong man in the wrong place at the wrong time case of mistaken identity missing airman currency exchange racket Hitchcock-style switcheroo amateur sleuth film noir goose chase boarding rooms and corridors darkness and blinds | blindness mystery adventure with Maxwell Reed, Michael Brennan, Dinah Sheridan, and is a part of the Robert S. Baker Limey noir oeuvre which is a small oeuvre that will be noted, but still holding a place in Limey noir canonical collection and viewing, and is of course a must-see stop, for they are all must see stops, in the viewership of the complete collection of work by the favourite of the weblog Patric Dooonan.

The Gentle Gunman (1952)

The season devoted to Basil Dearden should certainly include this curious and often overlooked film, which stands as a revealing example of his craftsmanship and of the thoughtful social concerns that quietly animate much of his work.

The Gentle Gunman (1952) is a rarely seen post-war English Limey gem wartime Blitz set Ealing take on Irish republican resistance paramilitary operation resistance and internecine war and peace moral Northern Ireland rural and Belfast-based discursive and at times genial and at times brutal adventure drama with Dirk Bogarde, John Mills, Elizabeth Sellars, Robert Beatty and also stars James Kenney who is better historically and famously known round these here parts as Cosh Boy, for he is such.

The Blue Lamp (1950)

The Blue Lamp (1950) is a Limey crimey ensemble cast classic British police procedural and Ealing produced state of the nation values-led post-War copper drama, directed by Basil Dearden and starring Jack Warner, Dirk Bogarde, Bernard Lee, Peggy Evans, and is about as non-noir as it gets, while still being entirely relevant to the crime wave fevered press narratives of the day. 

its about the bonhomie and salt of the earth morality of the constables, all working men with values that we might like to interpret as British and are seen giving directions, and actually helping elderly women across the road. They even appear to have a separate division titled 'Women Police' (26:10).