Inspecteur de service

The film has some great sayings, such as which you're unlikely to hear in any cops and robbers film again!

Gideon has a gun pointed at him by the artist-turned-payroll robber. He calmly smokes his pipe and speculates the outcome for the artist, if he were to shoot, at which the artist/robber says "I don't see why you're using the subjunctive!".

Gideon of Scotland Yard is a fine 1950s British detective film based on a book by the prolific writer John Creasey. It stars the inimitable Jack Hawkins as the gruff yet likable detective working hard on a number of overlapping cases during a single 24 hours in London. The film was directed by John Ford, of all people, the man best known for his epic American westerns, who brings a kind of slick stylish look to the screen.

The running time flies past because this is a very entertaining movie, one of the fastest-paced films of the 1950s I've seen. There's never a slow moment, just a building of tension, suspense, and yes, humour, which delightfully offsets the darker and more tragic elements of the plot. Watching Hawkins trying to juggle various cases, crimes, criminals, superiors, underlings, and of course his home life, is a sheer delight. An exemplary supporting cast adds to the experience, making this an all-round winner of a film.

A British crime drama; A story about a complicated day in the life of a Scotland Yard detective. This comedic, tongue-in-cheek, police detective procedural, is adapted from John Creasey's novel. It is brisk and humorous. Jack Hawkins plays his part proficiently as the reluctant hero, conveying well the life of a man with a seemingly endless flow of work and family life vexations. The many criminal acts give the film a disjointed feel, and it is dullened by melodrama in parts, but Hawkins holds our attention with his dry humour and charm, suggesting the annoyance and boredom of his job. The film is shot in glorious Technicolor and exhibits an extraordinary array of British character acting talent. John Ford succeeds in balancing the chaos and confusion of Scotland Yard and its cohorts with the wit and competence of a family man police inspector whose duty is never done.

The novel 'Gideon's Day' was the first in the Gideon series by John Creasey (written under the pseudonym of J J Marric) and was published in 1955. Each book in the series followed 'G G' (George Gideon) through a period of time. Cases that came up during that time were not necessarily solved by the end of the novel: they were kind of a "slice of life" of (Creasey's image of) 50s Scotland Yard.

There are 21 novels in the Gideon series, as written by John Creasey, with the last one published in 1976 (2 years after his death). I did, however, once came across another Gideon novel, written after Creasey's death by another author using the name J J Marric. If you like the Gideon TV series and movie and are interested in the books, make SURE they are by Creasey as anything else is a very poor substitute.

JOHN FORD seems a strange choice to be directing a British film starring JACK HAWKINS in the role of a very busy Scotland Yard inspector who has no time for anyone else in his domestic life as long as he's on the trail of various culprits. ANNA LEE is his patient wife at home who's more concerned with raising two children and cooking meals to pay much attention to her husband's urgent calls of duty.

It's a very fragmented kind of story-telling, more a series of vignettes featuring Hawkins in his role as detective, getting able assistance from JOHN LODER (Hedy Lamarr's ex-hubby during the '40s). He covers cases involving a psychotic killer, a hit and run murder and a bank robbery--with some wit and sardonic humor injected into all the proceedings by director Ford. DEREK BOND, ANDREW RAY and ANNA MASSEY (her film debut) round out the supporting cast.

Summing up: Above average thanks to some interesting, very flawed characters involved in crime and a brisk pace and brief running time that deserves praise in this day of films that go on and on forever, although the film was not a critical or commercial success.