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Somewhat under-rated British suspenser.Mills gives his usual excellent performance, and though the scene where he flies the plane doesn't come off, the film has more than enough compensations. Ending is a little hurried, but this a very watchable movie especially for we lovers of the 1950s British suspense genre.

John Mills stars in this excellent suspense picture, very reminiscent of Hitchcock, infact, you'd think it was Alfred directing this, it features some of his trademarks!

John Mills is excellent, as is the entire cast.

The screenplay in parts is a little disappointing but overall the picture works. I quite enjoyed the finale, classic stuff!

Check this film out!

This is a well crafted story with many a twist. A lot of b movies were made in this era but would surely have made an excellent main feature with plenty to talk about after. Well worth a watch.

I'm a big fan of John Mills, he's made some masterpieces in his time. Sadly, "Mr. Denning Drives North" isn't one of them. The plot can't seem to decide whether to focus on Mills and his mental strain after the tragic events from the film's beginning, or on Sam Wanamaker as the ambitious solicitor who's determined to unravel the truth about John Mills's plight. Frankly, I grew quite irritated with the film. The opening 15 minutes offered a vague hint of something which might have been good. Alas, this was not the case. The conclusion is one of the most ridiculous I've ever seen - and there are plenty to choose from! The supporting cast are wasted. The likes of Raymond Huntley, Wilfred Hyde White and Herbert Lom have little to do. Why couldn't the scriptwriter incorporate their characters into the story properly? John Mills does his best with such bland material and he's the only reason to give this film so much as a side glance.

John Mills plays Mr. Denning, who owns Denning Aircraft. Lately he has been distracted, bad tempered, sleepwalking, and drinking more than usual. He finally tells his wife (Phyllis Calvert) why.

When he went to confront his daughter's ne'er do well boyfriend Medos (Herbert Lom), he punches him - the man crashes his head on the fireplace and dies.

Panicked and afraid for repercussions for his daughter, Denning packs Medos' clothes, throws the body in his car, drives to a secluded location, fakes an accident, and hides the body nearby.

Time passes, but nothing is ever reported about the body. Normally, as it would decompose, this would be a good thing.

Alas, not in the obsessive hands of Denning, who manages, by his interference, to get his daughter's new boyfriend (Sam Wanamaker) involved.

One twist after another. If it had been brilliantly directed, it would have been better. As it was, it still was absorbing and entertaining.

At the end of the film, with the daughter talking so fast, I, who worked as a professional transcriber for years, couldn't understand what she said after repeated listenings. Ditto what she said to her father about Medos. Both of which I wanted to know. Maybe someone can enlighten me.

Probably the worst piloted film I've ever seen John mills actions made absolutely no sense

Perhaps it's in part because the acting is so fine - playing characters we like, yet in a very unsavory situation - this movie stays with me these 20 or so years since I saw it on television.

This is also one of the relatively few movies before the late 1950s that I can recall that really (purport to) go out into the British countryside: The Clouded Yellow is another example - and a similar style of movie to this (and also very good). Aside from these, I can think of only the Scottish scenes in The 39 Steps, I Know Where I'm Going, How Green Was My Valley, The Stars Look Down. (Suddenly in the late 1950s/1960s, British movies exploded out of London and went a-venturing - in such as This Sporting Life, Look Back in Anger, Tunes of Glory, A Kind of Loving, Room at the Top, Billy Liar, Whistle Down the Wind, The Loneliness of the Long Distance Runner, Becket, The Lion in Winter, Saturday Night and Sunday Morning, Tom Jones, Get Carter, Alfie).

Like The Clouded Yellow, this is the kind of movie patented by Hitchcock - filled with psychological suspense, fast moving plot, attractive actors, physical danger, significant looks, deception.

I've never seen a video or DVD available - but it's definitely worthwhile seeing it if you get the chance (perhaps on television).

Don't be taken in by the nondescript title, behind it lies a highly offbeat drama adapted from his own novel by the man who collaborated on the screenplay of 'Vertigo'.

When as a teenager I first read the plot précis in Gifford's 'Catalogue of British Films' I watched it wondering if he was kidding. He wasn't, and straight from the spoken credits, immediately followed by a bizarre dream sequence inhabited by people from his waking life we were plunged into a story surprisingly similar to Chabrol's 'La Femme Infidele', which had a similarly perverse but satisfying outcome with the hero, his wife and daughter bonded by the secret they now share.

Competent direction and generally good performances but what disappoints and categorises the film as a period piece is the treatment of the Travellers in this film, referred to throughout as 'Gypsies'. The stereotypical figures - belligerent male, young woman attracted by bright objects, grasping older woman - are, on a moral scale, worthier than Mr Denning and family all of whom are desperate to conceal essential truths. While the film is entertaining, a number of gaping plot holes and, more importantly, this representation of the 'acceptable' face of racism, prevent me from giving it more than four stars.

Is this Hitchcock incognito or the Hitch you have when not having Hitch? I'm not always a fan of Hitch but I could imagine him wishing he might have made this movie. Mr Denning certainly offers more than a fair share of suspense and visual challenges to keep the viewer intrigued, and just when it looks like it's all sorted it rolls backwards to challenge us over again. There's also a smart script by the original story writer Alec Coppel (Vertigo)

It offers nice touches, excitement, good performances (from a fine cast), and some stylish direction and cinematography to keep the mind and eye alert. Whether it ends quite right is up to your own thoughts, but it's so well done you can hardly mind. The new Netwerk transfer to DVD is most pleasing with sharp quality B/W and reasonably priced.

Well I stayed and watched this film unfold. Charming period drama albeit a bit too clever and today such racial stereotypes would not be tolerated. However as it was 1951 we can forgive the essential prejudice that is necessary for the plot to remain plausible. I liked it and will watch again. A very fine film that has aged better than many. I liked the many actors in this that went on to become regular names in films and TV. Take bow all of you. It was an amazing watch and great twist at the very end that made me smile. A fine denouement. No idea why this bombed in the UK it was good enough and better than so much out there at the time. Do watch this. But park your sense of justice and go with out all.

Ah, Johnny, Dear Dear Johnny.

No-one does frowning like Dear Dear Johnny, and in this he frowns A LOT. It's a frowner.

The first few minutes are absolutely hilarious, for students of Johnny: under "terrible" strain (hence the frowning: strain is always terrible in Johnny's frowners), Johnny (I mean Mr Denham, although it amounts to the same thing) takes off in an aeroplane of his own manufacture and promptly nearly kills everyone wandering around his manufacturing plant, all of them dressed, quite appropriately, in white coats, somewhere in Englandland. With this kind of CEO, no wonder every English aircraft manufacturer quickly went out of business.

All sorts of hilarious, frowny things then ensue. Including "queer things" to do with, er, "Gypsies". Apparently the best way to locate a Gypsy camp, pre-Internet, is to use one of your own bally aircraft, and flying up and down the country, landing impromptu in this or that fields.

They don't make 'em like this no more.