La penitencia del capitán Sabat

Nifty little film with a surprise ending!

Michael Redgrave is on his way to work via train when he sees what looks like a murder in an apartment window. When he goes to investigate (with a cop in tow) it turns out to be something else altogether.

He meets a magician (Paul Lukas) and his beautiful wife/assistant (Sally Gray) and gets involved in their lives (and unhappy marriage). As he gets pulled into their lives, he becomes more and more attracted to Gray. Meanwhile, his own wife (Patricia Roc) is having her own problems at work.

What starts out as the act of a good Samaritan turns into a meandering tale of intrigue. This one never quite goes where to expect it o. Worth looking for.

Redgrave, Gray and Lukas are all especially good in this one. It's a wonder that Sally Gray wasn't scooped up by Hollywood.

A remake of a French film made four years earlier called 'Metropolitan' transformed by it's journey across the Channel. The vivid record of prewar London before the railings came down is today naturally the film's main attraction, although the production design of the interiors also contributes it's fair share of atmosphere.

In support of a young and rangy Michael Redgrave are Paul Lukas (who Redgrave had just worked with on 'The Lady Vanishes') and Hartley Power (who Redgrave would later shoot in 'Dead of Night').

This movie was excellently directed and acted, almost flawlessly so. Yet the plot lost focus along the way and created too many ambiguities.

Sally Gray was the primary interest in the film. Though compared to Ginger Rogers, she was more like Veronica Lake. Indeed, at the end she actually appears with her hair in a peek-a-boo style. She looked stunningly beautiful in the film throughout but also gave a superb performance.

The problem is it's hard to justify why she would stay with her husband/partner who showed almost no virtues throughout the film. To make a relationship like that work, the husband should have been written as loving for the most part with a little flaw of temperament. As it is it's hard to see what someone like Vivienne (Gray) could see in him, especially since he seems much older than her and is not especially good-looking. It's true she admires his illusionist artistry, but that's hardly enough to keep a woman attached to a man.

Also puzzling is the man-wife relationship of Michael Redgrave (Peter) and his wife, Pat, played by Patricia Roc. Their relationship is barely touched upon and seems out of place in the film. Moreover, the film apparently sees no problem in Peter's obsession with Vivienne, which actually amounts to adultery (he kisses her passionately) though they have no sex in the film. The failure of the film is it doesn't even address the implications of Peter's double romantic life as if it were of no consequence. Keep in mind the year the film was made, which makes Peter's potentially adulterous affair even more puzzling. Did audiences of the time care?

I also found the brusque ending a letdown. It's an ending that might work in a half-hour Alfred Hitchcock Presents episode, but not in a feature-length movie where we develop an affection for the leading lady.

Finally the subplot regarding Pat's telephone job seems too episodic with the rest of the film.

But one can cast all that aside and enjoy the stunning beauty of Sally Gray, the fine direction, acting, and editing throughout and even some illusionist episodes,

You probably don't believe that an obscure English film from 1940 that you've never heard of directed by nobody you've heard of is worth watching. I didn't either until I saw this - what a surprise, it's great!

Let me qualify that 'great.' If you enjoy a good old fashioned gritty, film noir drenched in melodrama without any mushy sentimentality, you'll love this. All the characters are superbly realised with genuine personalities and back stories - they just seem so believable. You can engage with them all and empathise with their tangled and toxic relationships.

Nobody is particularly fun but Michael Redgrave (wearing a flat cap to make him working class!) is constantly cheerful, oblivious to the mayhem he's causing. He's a rather imperfect husband with a pretty wife who becomes infatuated with the wife of a third rate magician. She is played by Sally Gray who is so drop dead gorgeous it's quite understandable. Her husband is Paula Lukas and he's brilliantly over the top as paranoid, insecure utter failure as a magician, husband and man. I'd go as far as saying that this is one of his best roles.

Director Herbert Mason, hardly a well known name, doesn't have any particular style or tricks but succeeds completely in making this totally engrossing. His story was a tried and tested one as this is an English remake of a French film made a year earlier so he had the advantage of knowing the story worked. He really brings his talented cast to life. Lucas and Redgrave are excellent as you'd expect but so is Sally Gray. Whilst she's absolutely stunning, she's also a superb actress.

Although it's very English it has an almost similar feel to those gritty Warner Brothers pre-code movies but with the benefit of a decade's worth of technological advances in filmmaking. Its lack of sugar coating and sentimentality is also refreshing and the likeability of its imperfect characters makes this sublimely entertaining.

Herbert Mason's lustily performed, enjoyably light-hearted romantic thriller 'A Window in London' still retains its effervescence, being a vibrantly written, engagingly brisk, warmly nostalgic cinematic treat! This frequently refined vintage entertainment documents some truly evocative moments along with its beguilingly monochrome views of 1940s London! And certainly no less appetising is the vivacious, and disarmingly pretty Sally Gray who makes for an especially charming, drop-dead gorgeous heroine! With her crisply moustachioed, monstrously arrogant, ferociously jealous illusionist hubby brought to meticulous life by Paul Lukas, who energetically portrays the picture-perfect pantomime villain Louis Zoltini with a deft Lugosian panache! Far from primitive, Mason's pristine 'A Window in London' is not only a fascinating window into a bygone Britain, it also maintains lively interest as a pleasingly whimsical, sweetly romantic, deliciously theatrical romp in its own right, and while the tall, almost absurdly photogenic Michael Redgrave is, perhaps, a trifle miscast as the cavalier, rough-handed cockney crane driver, he nonetheless remains a sympathetic lead, whose gallantly dramatic intervention playfully heralds an eventful jaunt across the picturesque diorama of 1940s London.