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IMDbPro

It Always Rains on Sunday

  • 1947
  • Approved
  • 1h 32min
VALUTAZIONE IMDb
7,1/10
2609
LA TUA VALUTAZIONE
It Always Rains on Sunday (1947)
An escaped convict tries to hide out at his former lover's house, but she has since married and is reluctant to help him.
Riproduci trailer2:39
1 video
78 foto
CrimineDrammaRomanticismo

Aggiungi una trama nella tua linguaAn escaped convict tries to hide out at his former lover's house, but she has since married and is reluctant to help him.An escaped convict tries to hide out at his former lover's house, but she has since married and is reluctant to help him.An escaped convict tries to hide out at his former lover's house, but she has since married and is reluctant to help him.

  • Regia
    • Robert Hamer
  • Sceneggiatura
    • Arthur La Bern
    • Angus MacPhail
    • Robert Hamer
  • Star
    • Googie Withers
    • Jack Warner
    • John McCallum
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,1/10
    2609
    LA TUA VALUTAZIONE
    • Regia
      • Robert Hamer
    • Sceneggiatura
      • Arthur La Bern
      • Angus MacPhail
      • Robert Hamer
    • Star
      • Googie Withers
      • Jack Warner
      • John McCallum
    • 44Recensioni degli utenti
    • 37Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
    • Premi
      • 1 candidatura in totale

    Video1

    Trailer
    Trailer 2:39
    Trailer

    Foto78

    Visualizza poster
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    Visualizza poster
    Visualizza poster
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    + 72
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    Interpreti principali43

    Modifica
    Googie Withers
    Googie Withers
    • Rose Sandigate
    Jack Warner
    Jack Warner
    • Det. Sergt. Fothergill
    John McCallum
    John McCallum
    • Tommy Swann
    Edward Chapman
    Edward Chapman
    • George Sandigate
    Susan Shaw
    Susan Shaw
    • Vi Sandigate
    Patricia Plunkett
    Patricia Plunkett
    • Doris Sandigate
    David Liney
    • Alfie Sandigate
    • (as David Lines)
    Sydney Tafler
    Sydney Tafler
    • Morry Hyams
    Betty Ann Davies
    Betty Ann Davies
    • Sadie, his Wife
    John Slater
    John Slater
    • Lou, his Brother
    Jane Hylton
    Jane Hylton
    • Bessie, his Sister
    Meier Tzelniker
    • Solly, his Father
    Jimmy Hanley
    Jimmy Hanley
    • Whitey
    John Carol
    • Freddie
    Alfie Bass
    Alfie Bass
    • Dicey
    Frederick Piper
    • Det. Sergt. Leech
    Michael Howard
    • Slopey Collins
    Hermione Baddeley
    Hermione Baddeley
    • Mrs. Spry
    • Regia
      • Robert Hamer
    • Sceneggiatura
      • Arthur La Bern
      • Angus MacPhail
      • Robert Hamer
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti44

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    Recensioni in evidenza

    8gsygsy

    Dynamic

    Dynamic British romantic thriller with a cracking script and an outstanding final reel, crammed full of delectable performances from a fine group of character actors. Above the title are the ever-excellent Googie Withers and charismatic Australian hunk John McCullum: they married soon after shooting was over, which certainly goes some way to explaining their on-screen chemistry. With them is dear old Jack Warner, whose folksy old copper in the TV series DIXON OF DOCK GREEN used to irritate me when I was a child, but here he's playing a detective with a bit of grit in him, and it's a pleasure to discover that Mr Warner was perfectly up to the task. Of the supporting cast, Edward Chapman deserves mention for his self-effacing but nevertheless affecting performance as Ms Withers' husband.

    There is a certain amount of caricature in the writing (and perhaps in the playing too) of a couple of roles, but on the whole the script succeeds in delineating personalities rather than types, unusual in a film of the period presenting a mainly working- and lower-middle-class milieu, a good deal of it filmed (by the great Douglas Slocombe) on location.

    Director Hamer's final reel is a daring chase followed by a strangely affecting coda. The chase is slightly marred by the intrusion of a couple of model shots which the sequence could easily have done without. But it says something about the power of Hamer's vision that he imagined long shots at those points: it was just unfortunate that the only way to achieve them was by using miniatures.

    Highly recommended.
    9Bunuel1976

    IT ALWAYS RAINS ON Sunday (Robert Hamer, 1947) ***1/2

    Ealing Studios are chiefly remembered nowadays for their string of classic comedies made between 1946-55 but they also put out several notable pictures in other genres - including the justly celebrated horror portmanteau DEAD OF NIGHT (1945) - and this noir-ish melodrama is definitely one of their hidden gems. Although the plot per se is no great shakes - an escaped convict hides out in his by-now-married ex-flame's household - the idea was still fresh at the time and the film's marrying of the realistic and evocative recreation of daily life and surroundings (here being the seamier side of London's East End) with the exciting chase thriller format was much admired in its day and, in hindsight, very influential.

    The good cast is headed by the formidable Googie Withers as the embittered housewife whose life of drab domesticity comes crashing down around her with the sudden reappearance of her lover (John McCallum, and Withers' own real-life husband-to-be) who demands food and shelter until he can skip the country; her much older, unassuming husband is played by frequent Norman Wisdom sidekick Edward Chapman and the pursuing police detective by the ubiquitous Jack Warner who cornered such roles in British films of the era, most notably in Basil Dearden's THE BLUE LAMP (1950); Chapman's three children are each having problems of their own and their frequent comings-and-goings in the house during this particular Sunday (the film is set all in one day) brings long-suppressed tensions to the fore.

    Even without the eye-catching use of the medium of somebody like Carol Reed, the film is beautifully handled by the talented but ill-fated Robert Hamer - who, among other things, would later direct that which is undoubtedly Ealing's most famous comedy, KIND HEARTS AND CORONETS (1949) - and the climactic sequence (expertly lit, as always, by Douglas Slocombe) in which all the various strands of plot and secondary characters are seamlessly woven together is simply exquisite.

    Optimum Releasing also included a featurette with film historian George Perry - who, incidentally, introduced THE BIG SLEEP (1946) at the recent National Film Theatre screening in London I attended; unfortunately, I encountered some playback problems on my Pioneer DVD player even before the start of the main feature but the R2 disc played without a hitch on my cheap HB model.
    7trpuk1968

    Superb and spellbinding British Film Noir

    Film Noir defies definition, plenty disagree whether its a movement, genre, style. Perhaps its more usefully conceived as a sensibility, a world view, an attitude. In which case the words pessimism, determinism ie characters lacking choice their lives are predetermined, doom, gloom, the past coming back to affect the present all spring to mind. Its possible to see a cycle of films with remarkably consistent features in terms of visual style emerging in U.S primarily and to a lesser extent the U.K and France in the forties and fifties. While most noir films have a male as the central protagonist, a male who is invariably weak and flawed, a number of these films, such as Mildred Pierce, have a female protagonist. Noir manifested itself differently in Britain, combining with elements of what was to become known as kitchen sink or social realism and frequently concerned with social class.

    This film uses the claustrophobic interiors of the terraced house to great effect. The noir style of long shadows, oblique angles, becomes more evident in the final climax, not really needed early on since the interiors work effectively without lighting effects. Melancholia drips through this like the rain of the title, Googie Withers is terrific, her face a mask of dreams, desires pushed away, disappointment etched over her features through her hard make up. How different she is in appearance to the femmes fatales of the U.S movies, bustling round the kitchen in her pinafore, then later on the almost military smartness of her utility dress when she attends Tommy. As a character shes every bit as strong however as her American counterparts. Like Mildred Pierce, she's strong in a domestic setting, when the usual convention for women in noir is to take them out of the domestic, placing them typically as nightclub singers or gangsters molls. In details I ll acknowledge this is on occasions cheesy and dated. Scratch at the surface however and its a fascinating exploration of the social tensions emerging after World War Two. How were people to adjust to life in peacetime? Were they able to return to the rigidly prescribed roles they d had prior to the war? Ealing studios produced a number of films which now can be seen to share many affinities with American Film Noir, this is one of the most interesting and rewarding.
    JoshsDad

    good solid drama

    i have to disagree with the other reviewer. this a good, solid drama that captures the mood of post war london expertly. the stories mesh together well and the performances, with one notable exception, are first rate. the atmospheric photgraphy adds to the overall feel of the piece and the climax is very exciting.
    7howardmorley

    The Cold Damp Atmosphere Really Hits You

    "London Live" t.v. channel no 8 are currently showing a season of Ealing Films and not just the well known comedies for which they were better known.I had obviously seen these comedies but on 1st June 2015 I saw "It Always Rains on Sunday" (1947) for the first time.I was familiar with Googie Withers from the time of her support role to Margaret Lockwood in the Hitchcock film "The Lady Vanishes" (1938).Talking of this great director one James Hitchcock has given a definitive user review dated 7/9/05 (first above) which satisfactorily explains the plot and other production values for which I commended him.Yes the film set rain machine was very much in evidence to add verisimilitude to the film title.A few reviewers from foreign parts I notice had an understandable problem with the London vernacular accents but it was obviously produced with the home market in mind as were many American movies.Being a 69 year old Londoner myself I understood all the East End dialogue, having worked in Stratford near Bethnal Green myself.In line with IMDb.com general average I rated it 7/10.

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      Googie Withers, who played Rose Sandigate, and John McCallum, who played Tommy Swann, met on this movie and were married the next year. They were married for 62 years, until his death.
    • Blooper
      Tommy Swan is imprisoned and his girl, Rose marries George Sandigate so he wouldn't know where she lives when he escapes from prison.
    • Citazioni

      Joe: We don't cater to the criminal classes.

      Detective Sergeant Fothergill: Turned over a new leaf?

      Joe: There's such a thing as a law of libel.

      Detective Sergeant Fothergill: There's such a thing as ham, but there's none in this sandwich.

    • Connessioni
      Featured in Tuesday's Documentary: The Ealing Comedies or Kind Hearts and Overdrafts (1970)
    • Colonne sonore
      Theme Without Words
      Composed by Mischa Spoliansky

      Lyrics by Henry Cornelius (uncredited)

    I più visti

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    Domande frequenti18

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    Dettagli

    Modifica
    • Data di uscita
      • marzo 1948 (Paesi Bassi)
    • Paese di origine
      • Regno Unito
    • Lingue
      • Inglese
      • Yiddish
    • Celebre anche come
      • Piove sempre la domenica
    • Luoghi delle riprese
      • 64 Clarence Way, Camden, Londra, Inghilterra, Regno Unito(Exterior of the Sandigates' house)
    • Azienda produttrice
      • Ealing Studios
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Lordo Stati Uniti e Canada
      • 14.276 USD
    • Fine settimana di apertura Stati Uniti e Canada
      • 7177 USD
      • 9 mar 2008
    • Lordo in tutto il mondo
      • 38.313 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      • 1h 32min(92 min)
    • Colore
      • Black and White
    • Proporzioni
      • 1.33 : 1

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