Daybreak

If you prefer films that are upbeat, positive and have a feel good air, then best to avoid this at all costs. However, for anyone who looks for a good storyline, with excellent casting and production values, then "Daybreak" is a rare gem. The story is both simple, and yet convoluted, but does break away from a lot of run of the mill stuff from that era of the late-40's. The only glaring problem, which detracts from making this film something of a minor classic, is the fact that it is obviously quite heavily censored. This simply results in some scenes becoming disjointed, and the flow of the film disrupted. However, this does not serve to spoil the film, but is a definite irritant. The ensemble playing by the cast is uniformly excellent. Eric Portman was always well worth watching, and Ann Todd probably produces her finest performance on screen. Edward Rigby and Bill Owen provide fine support, and that master of suppressed menace, Maxwell Reed, gives a typically dark and brooding performance, despite the dodgy Scandinavian accent! The film is not always easy to find, but is a rewarding experience for those that do find it. Just don't expect a joyous outcome!

I happened across this film on TV years ago (when they used to show decent, obscure old movies) and I remember while I was watching, I spent most of my time wondering if it was brilliant or if it was terrible - or what was it really all about. There seemed to be a lot unsaid (possibly/ likely due to censorship, as others here have said), but this added to its appeal too, maybe - it left much to the viewer's imagination and this only improved the movie. I will have to see it again. I'd LIKE to see it again. But where? There should be an option on imdb that shows if a movie is available on streaming/ cinema/ tv - and if not, to notify someone when it comes up. I'd add this one. My rating (7/10) is possibly unfair in either direction and likely to change after I see it again, but the fact that it stayed in my mind for over 20 years alone deserves a number of stars.

According to Quinlan this film was held back from release for 2 years because of problems with the censor.Since producers normally worked in co operation with the BBFC this does seem rather strange.Watching the film now and comparing it say with No Orchids For Miss Blandish it is difficult to understand what problems might have arisen.A more likely reason is the sheer grimness of this film.If it was made in 1945 it was hardly likely to appeal to an audience who had only recently been under attach from V2 weapons.So presumably the producers put it on the shelf waiting for a more appropriate moment to show.The film starts with Portman as the hangman approaching the cell of a condemned man and the mood goes down from there,if that is possible.The story is rather a mess and the pairing between Portman and Todd unlikely in the extreme.The ending is about as downbeat as you will ever find.Definitely not a film I would ever wish to see again!

An extraordinary, bizarrely cast melodrama which not surprisingly encountered censorship problems at the time.

Reminiscent of prewar French cinema but perfectly capturing the morose mood of a postwar Britain in which barrel organs were still heard in the street, Battersea power station still belched smoke and murderers were still woken at eight for their date with the hangman. Eric Portman was still young and dashing enough to play one of his flawed leads, waifs didn't come more chic than Anne Todd, and bad boys more saturnine than Maxwell Reed in the equivalent to the role played by Dan Duryrea in 'Scarlet Street'.

Daybreak is totally fascinating - the kind of movie you can stare at, open mouthed, for the full hour and a half. Ann Todd as always is wonderful, but this has to be one of her best performances by far. Apparently a lot of the movie was cut by the censors upon its release leaving gaps in the story, and you do get this sense at least with Todd's character - there's a slight hint that she may have been a prostitute but this isn't followed through and is just forgotten.

Without spoiling the ending - and don't read the plot summary before you see the film! - this is one of the most heartbreaking shows of misunderstanding ever. Todd lives with husband Eric Portman on a barge and his business sends him away for long periods of time, leaving her along with the very seedy Norwegian "Olaf", and leaving it up to the audience to guess what he does to her. One night she begs her husband to stay, or take her with him, but he can't, and yet she won't tell him why. He comes home and finds Olaf present, but unfortunately gets the wrong idea about why he is there.

It's a shame so much was cut from this fine film, but what is left is sufficient to garner it a 10/10. The scene especially where Todd and Portman meet is an utter delight!