Opération Scotland Yard

This is one of the most shocking films ever made about the true depths of colour prejudice in Britain in the 1950s, and the violent hatreds of black people harboured at that time by the white British working classes, especially in London. The film is well-scripted, and boldly directed by Basil Dearden, and it shows without flinching the true state of feeling as it was in those days (with some strong anti-white prejudice by blacks thrown in, to demonstrate that things are never only one way). What is so utterly horrifying about watching all of this now is, that it really was all true then. It is inevitable that some of the characters both white and black should resemble stereotypes, perhaps for the reason that at that time, people genuinely were stereotypes. The story concerns a police investigation of a murder of a young girl who was a student at the Royal Academy of Music (half way through the film a policeman calls it the Royal College of Music; Londoners are always confusing the two separate institutions in that way, so perhaps this script flaw merely reflects real life). Her body is found on Hampstead Heath in London, and there are no clues apart from the initial 'S' (her name is eventually discovered to be Sapphire). As a crime investigation thriller, the film is solid and extremely well done. A spectacular cameo performance is given by the black actor Robert Adams as 'Horace Big Cigar', not long before he died. The acting is all reliable and convincing. Dearden is especially good at not allowing any of the women and children to scream when discovering a body or having a horrible experience: his technique was extremely subtle, and they instead stifle screams, a scream begins to form, and then they put their own hands over their mouths in horror. When identifying a corpse, the actor behaves as one would naturally do, with numb paralysed shock, remaining silent and staring. All the ridiculous Hollywood histrionics and stock reactions of approved hysteria and screaming females are eliminated from this very British film, in which there is no place for hysteria except with one black character who panics for story reasons. Sociologists should really see this film. However, it is so incendiary that I cannot see it ever being released again or even being shown on television, at least not in Britain. In fact, some of the comments in the film may even have become 'illegal' under the harsh new race relations laws, even in a fictional context! Anyone who thinks race problems have gone away does not know human nature. Sensitivity to small differences, such as skin colour, is so firmly rooted in animal behaviour (the isolation by the herd of the black sheep, the driving away of albino animals from the pack), that race hatreds are inescapable, and can only be suppressed, never eradicated. Seeing this film reminds one of this depressing aspect of life by a blatant portrayal of it which is almost too painful to watch.

I saw this movie (for the first time) when cable TV was new to Birmingham, Alabama. It was aired on a channel out of Chicago. Throughout the years, I have tried unsuccessfully to find a copy. Then...about three months ago, I found a collector with a copy in mint-condition. It has been well worth the money I spent. I watch it at least once a week. The cast worked very well together and the soundtrack is still hypnotic. The subject matter is addressed with a level of cinematic respect that makes the viewer sit up and take notice: no cursing and no lewd scenes...just raw and compelling acting. Like a bottle of old wine, Sapphire gets better and better as it ages. I'm hoping that no one will insult those of us who truly love this film by screening a cheesy re-make. That would be an insulting.

Excellent film, directed by Basil Dearden, who directed Dead of Night and Victim, two marvelous movies.

Sapphire takes place in the '50s - the film was released in 1959 - in England. A young woman is found dead in a park. It turns out her name is Sapphire Robbins, and she was engaged to a young man, David Harris (Paul Massie). The autopsy shows that she was three months' pregnant, and David admits that he was the father.

When Sapphire's brother (Earl Cameron) shows up, the superintendent in charge of the case (Nigel Patrick) is surprised that he's black. Sapphire was passing. The detective wonders if the Harris family knew - - and when they knew it.

David had won a scholarship and was to go off to school - could he be saddled with a wife and child? His father (Bernard Miles) is very protective of him, and his sister (Yvonne Mitchell) is somewhat abrasive.

This is the story of underlying prejudice and assumptions about black people that were pervasive at the time, particularly when this film was made. Notting Hill race riots took place in 1958. These prejudices are expressed by the inspector on the case (Michael Craig), especially the myths of black sexuality.

Dearden liked to tackle these tough subjects, which he does very well, showing it as an underlying constant. Landladies have "white" houses, black friends dropped by Sapphire when she found out she could pass seem to understand her dropping them.

The scene at the Tulips Club is the best in the film, with pulsating bongos and wild dancing. The camera veers all over the room, showing twirling skirts, legs, black people dancing with women who appear to be white. There a man tells the superintendent no matter how white a woman is, you can tell she is actually black because she can't resist the sound of the bongos.

Very strong acting throughout, particularly by stage actress Yvonne Mitchell. One thing that shows that Dearden knew what he was doing -- people's reaction to death. When the woman in the park discovers the body, she doesn't scream. And when David learns of the death of Sapphire, he seems shell-shocked and numb. Sapphire's brother seems very calm, finally breaking down and asking, "How could anyone do this?" All very realistic, all not over the top.

A must see - it is available on Netflix and on Amazon instant video.

At first glance, SAPPHIRE seems to be your usual police procedural murder mystery thriller, with the superintendent and his supporting inspector (both played with bullish charm by Nigel Patrick and Michael Craig) investigating the discovery of a murdered girl in the local park. Indeed, their investigations initially take them down the usual alleyways as they explore the girl's social group, her relationship with a local lad, and some less-than-salubrious locations she was involved with.

However, where SAPPHIRE becomes something much, much more is in its context: race relations in Britain, circa 1959. It turns out that Sapphire herself was actually of mixed race, despite looking white. The discovery of her racial origins underpins the whole story and it's up to Patrick and Craig to unpin the build up to her brutal death. This is a shocking film, exploring the ugly face of racism in its matter-of-fact hatred of blacks and their creed. There's something grippingly realistic about it which makes it all the better film.

The supporting cast is very well picked. Nobody does shifty better than Paul Massie, the primary murder suspect. Earl Cameron is the model of race and refinement as the dead girl's brother. Yvonne Mitchell is superbly twitchy and Bernard Miles convincingly bigoted. Robert Adams supplies the one moment of true humour with his great cameo as Horace Big Cigar. As a film, SAPPHIRE is never less than thoroughly impressive, working well as a piece of social history as well as a fine detective story.

I was amazed by the shocking brutality of the racism in this film. In America, we are rarely presented with such casual racism; in films of the 50s, race is practically never dealt with in films, as Todd Haynes "remake" of Douglas Sirk's All That Heaven Allows tries to make up for. And current films about the 50s present such two dimensional characters that it is easy to tell the racist villains from the open-minded heroes. In Sapphire, filmed in Britain in the 1950s, one of the most interesting characters is Michael Craig's detective, supposedly our hero, but constantly making racist remarks. His comments are always countered by the more reasonable older inspector, but this allows his gradual transformation throughout the film. Although some of the film is a bit heavy-handed, ultimately the message is sadly still relevant. 4 out of 5.