Londres 999

One of the few British efforts to make the kind of 'gritty city' movies that the Americans did so well (Ritt, Cassavates, Kazan). Tibby Clarke wrote this before his (imho) finest work - 'The Lavender Hill Mob' & the climactic chase sequence of TLHM has its more sober counterpart here. This particular chase sequence would definitely rate as one of the best for the '50s. The social commentary in the beginning about old crime vs new crime (old money/ new money) jars the more politically correct '00 ears, but it definitely adds to the charm.

The most interesting performance is definitely the hugely talented Dirk Bogarde's. As the psychotic thief/ killer he sends a shiver down your spine even today. The pathetic slouch with the cold, cruel eyes stands as far apart as possible from the staid & begonia-sprouting policemen of the New Scotland Yard. And the sound of passing trains that overlaps his fits of rage? Brings back (unwelcome) memories of Jean Gabin in 'La Bete Humaine' - hv I spelt that right?

THE BLUE LAMP is a very famous and popular British film , so popular that it paved the way for an equally famous TV show called DIXON OF DOCK GREEN but it's also a film that hasn't stood the test of time , in fact it's so dated it was satarized in an excellent post modernist teleplay called THE BLACK AND BLUE LAMP in 1988 and after recently seeing this movie I realise that it's a very easy target

First of all is the portrayal of the police . Policemen in the 1950s spent their time taking home lost children , looking for dogs that had run away from their owners and practicing their baritone in the station choir ! Good job the crime rate was so low back then because - just like today - they'd never be able to catch criminals . At least watching THE BLUE LAMP you realise why the cops would never be able to catch crims because they seem to smoke over 100 cigarettes a day , no seriously they do and it's pointed out that PC Mitchell doesn't smoke and that's probably why he's able to sprint after Riley at the end with all the other cops at the station destined to die from lung cancer due to the amount of ciggies they smoke . If you've just given up the weed it's a bad idea to watch this movie

As in so many other movies from this period the " adolescent " characters are played by actors far too old for the roles . Diana Lewis is quoted as being 17 years old on screen but Peggy Evans who plays her is in fact 25 years old and she looks it , and while the ages of Riley and Spud are never mentioned it's inferred they're not older than 21 , but Patric Doonan and Dirk Bogarde are both in their late 20's while the " twenty five year old Pc Mitchell " is played by Jimmy Hanley who was in his early 30s . It's strange but people in those days all look considerably older than the real ages

To give the film its due the climax where Riley finds himself at the stadium being hunted is rather exciting , and " exciting " is not something British films of that era were renowned for . Some people may criticise the idea of dodgy characters going out of their way to help the police but this is logical since the police may return the favour at a later date in not asking too many questions about things falling off the back of lorries .

All in all THE BLUE LAMP is a strange film when watched today . It's certainly not a film for cynics and comes across as being very mawkish and sentimental with almost a fairy tale like air . But it should be remembered that in those days a person being murdered during a crime would make national news headlines while a policeman killed in the line of duty would lead to several days national mourning , and of course in those days the police were - If not popular - certainly far more respected than policeman today could ever hope to be so you have to view this film in the context of when it was made . Ironically enough it's also the first movie to use the word " bastard "

When the Blue Lamp was released i was around 3 years old.I therefore do remember the London that it shows.To me the film is more interesting in what it reveals about the London of 1950 than the actual story.It shows the Metropolitan Music hall in the Edgware Road.It was in the last few years of its life before the A4 cutting a swathe into London meant that it was demolished for "progress".Music Hall by this time was in its last throes and what was left would be rendered extinct by the arrival of ITV.We see the Colloseium in Harlesden.Every High Street had cinemas like this.If you look carefully you will see that they were showing "Granny Get Your Gun" a 1940 "B" feature with May Robson.So it was probably a second run house.There are the bomb sites.I remember that in certain parts of London,particularly the East End there mere were more such sites than actual buildings.The streets do not have a great deal of traffic as there was little traffic at that time.So a film of some sociological interest

Classic film, mystery thrillers/crime dramas, the cast in general and seeing Dirk Bogarde pre-stardom was a recipe for greatness. 'The Blue Lamp' is more than great, more like an excellent film.

It is easy to see why 'The Blue Lamp' was considered a classic of the post-war Era, of British cinema and film in general at the time and by those who remember it fondly now. Just as much it was easy to see why it was the most popular British film of its year. Sadly, it is a film that is deserving of more credit nowadays. Despite being as great as it is, 'The Blue Lamp' isn't perfect (but comes close). It is undermined only by two performances that don't make the grade and stick out like a sore thumb compared to the sterling work from the rest of the cast.

One is Jimmy Hanley, who is rather lightweight in his role which is a somewhat dull one to begin with. The other, and more problematic, is Peggy Evans, who is far too histrionic in hers and it becomes irritating, some of it is amateur hour too.

However, nothing can be faulted with everything else. It looks great still, the use of locations are gritty and have a real sense of dread while also being beautifully designed. The lighting is suitably ominous and the cinematography is stylish and every bit as rich in atmosphere. The film is hauntingly scored too and Basil Deardon's direction is taut from the start and never lets go, letting the tension really speak and keeping things at a cracking pace.

'The Blue Lamp' has a tightly structured and thoughtful script, and is interesting for its realistic portrayal of the austere times that pushed people into crime. As well as portraying the police in a way that is of the time but never over-glamourized, trivialised or made to look like fools. The story is always compelling with a clever, if not the most surprising, mystery that delivers on the suspense and tension. The confrontation between Dixon and Riley being unforgettable in its shock value, one of British film history's most shocking.

Evans and Hanley aside, the rest of the cast do sterling work. As good as Jack Warner and Bernard Lee are the film is stolen by an outstanding Dirk Bogarde, it's hard to believe that Riley was a pre-stardom role that put him on the map and to this day it's one of his best, he's never been more chilling than here.

Overall, a post-war British classic, notable for its atmosphere, realism and Bogarde's performance. 9/10 Bethany Cox

The Blue Lamp is directed by Basil Dearden and written by T.E.B. Clarke. It stars Jack Warner, Jimmy Hanley, Dirk Bogarde, Robert Flemyng and Peggy Evans. Music is by Ernest Irving and cinematography by Gordon Dines.

Andy Mitchell is a new recruit to the London police force, old hand George Dixon takes him under his wing and shows him the ropes. When Dixon is gunned down by a hot headed crook, Mitchell, the force, and the close knit community, all rally round to catch the villain.

What chiefly makes The Blue Lamp a fine watch is being able to witness the good old days of the British Bobby. It was a time when the copper was a feared and reassuring presence on the British streets, they walked the beat so everyone could sleep easy in their beds, help was but merely a whistle away.

In that, this Ealing Studios production does a wonderful job, the essence is perfect, the locale and the dialect used is absolutely spot on, whilst the story is an accomplished piece that brings to notice the sad emergence of trigger happy crooks, a new breed of thug who's discipline quota was zero. It also looks nice, with a film noir sheen presented for the night-time sequences, while Dearden offers up a great action scene and closes the picture down with a tense chase finale at White City Greyhound Stadium.

There's inevitably some staid performances indicative of the time, and it definitely paints the police and surrounding community through rose tinted spectacles, but they are small complaints that ultimately can't stop The Blue Lamp from being a most engaging viewing experience. 7.5/10