Train of Events

A novel piece of early post war British film noir with four concurrent plots - some better than others. A very young Leslie Phillips in a non comedy role and other strong actors including Peter Finch and Jack Warner. Fascinating for railway enthusiasts and a reminder of how dirty and run down the environment was in those days. Well shot and the special effects can be excused!

This is so much better than all the mass of train thrilers, all excellent and outstanding in suspense, while this one is no thriller but all perfectly natural, telling the stories of very ordinary people om board a train heading for disaster. The character you will remember best and forever is probably Peter Finch in his first film role as a Shakespeare actor in a truly tragic part, having lost his life and soul in six years of war and being constantly betrayed by his wife. His story is a drama in itself, while the other three destinies that are being followed are easier to digest, the story of the train driver, the story of a conceited conductor, his piano soloist and his wife, and the story of a German refugee, still suffering from the traumas of his past. Above all, the story is ingeniously conceived, weaving together four very different destinies, totally different from each other, none knowing anything about the others, and there are som police investigators as well, headed by Michael Hordern. There are so many dimensions to this film, the concert hall, the Shakespeare theatre, the domestic circumstances of the train driver and his family and friends, and the desperate circumstances of the refugee and his self-sacrficing girl getting their hardship exacerbated by a ruthless callous landlady. It's a pearl of cinematic invention, and the music adds to genuine quality as well. This is a film to enjoy and admire - and to have your compassion boosted with.

Compenium films such as these were very popular in the late forties.Naturally their success rides and falls on the quality of the story.Alas in this case only one of the stories is worth telling.The Valerie Hobson/John Clements story is truly awful.Jack Warners domestic problems seem more like an episode of the Huggetts.The ex German POW story has some promise but becomes repetitive.The Peter Finch/Mary Morris story is quite good but is undermined by the somewhat ridiculous proposition that a murderer would cart the dead body of his wife around in a theatrical basket.The fact that there is a good cast,and a strong band of writers and directors make it all the more disappointing.The most interesting aspect of the film is the considerable location work,which includes a view of the late lamented Euston arch.

Ealing Studios portmanteau drama that starts with a train crash, then follows four separate stories, showing the backstories of some of the passengers, the events that led to them being on the train, and the aftermath of the crash. Some big names of the day (Jack Warner, Susan Shaw, Miles Malleson, John Gregson, Valerie Hobson, Michael Hordern, and 'introducing' a very young Peter Finch). Several directors and writers involved, including Basil Dearden (who had a hand in both). Made over 70 years ago, but it stands up well. 7/10.

Although Jack Warner's domestic woes - or, more precisely, those of his daughter's boyfriend - keep getting in the way of far more meaty tales of murder, infidelity and post-war poverty this portmanteau movie from Ealing remains engaging throughout. A young Peter Finch receives his first screen credit as a murderer in the film's best story.