London Belongs to Me

A brilliant performance from Wylie Watson,with fine back-up from Alistar Sim and Faye Compton. The only downside to the film is the poker faced performances from Dickie boy and the other younger actors.Wylie Watson should have been knighted for his services in bringing tears to a glass eye.

A nicely evoked 1930s setting provides much interest for a viewer in the early 21st century; unfortunately, "London Belongs to Me" has little else to recommend it besides lashings of quaint English charm. All of the problems rest with the deeply unfocused story. The main plot concerns the actions of young lad Richard Attenborough, the problems he gets into and how the community in which he lives bands together to save him from society's laws. Or something. The main issue here is that Attenborough's character brings everything upon himself and, quite frankly, is guilty of almost every accusation brought against him, so it's baffling why the film (and all the characters) have so much sympathy for him. He's treated as a victim of circumstance when he really, really isn't; and what's more he isn't shown to have very much remorse for his actions, only caring about getting away with things he didn't mean to do. Alastair Sim gets a lot of screen time in a subplot that has absolutely nothing to do with the main plot line and you wonder what he's doing there (though Sim is, as always, superb). You know there's a problem with the structure when the main plot impacts constantly against the subplot but not vice-versa. And, following a sedate pace and a careful build up, the plot completely falls apart in the last 20 minutes with a deeply unsatisfying and unexplained conclusion which doesn't even show us if Attenborough's character has developed at all from the previous proceedings. The film doesn't end, it just stops.

The acting, direction and the general feel of the film can all be commended but unfortunately the story and structure of the piece jars constantly. A last point of trivia: Alec Guinness based his performance in the vastly superior film "The Ladykillers" on Alastair Sim's performance in this film, right down to both the characters having almost identical first scenes.

The quaint, dated elements of old British, black and white, post-war films are just my cup of tea.

Intimate insights into the lives of a disparate group of characters, forced to tolerate each other, is the sort of thing only the British do expertly.

Numerous familiar players all excel in their respective roles with stand-outs being Alistair Sim, Joyce Carey, Fay Compton and Richard Attenborough whose convincing portrayal of a terrified good boy gone wrong is palpable.

Great atmospheric music, photography and narration, along with the acting, make this a priceless gem of a film.

If , like me, you love the plays of Terence Rattigan then "London Belongs to Me" belongs to you too.

Good but not great story of group of characters living in a London boarding house in 1938. The story begins well and then starts to meander all over the place with the ending so weird that it borders on the surreal. Standout performances by Alastair Sim, right around the time of A Christmas CAROL, and Faye Compton as the widow he entrances. Hugh Griffith pops in late in the film to chew the scenery and bring a few chuckles. The cinematography is good and a nightmare sequence reminds one of DEAD OF NIGHT. There is a warmth about the film, one that was made in 1948 and looks back at London ten years earlier, that should appeal to all Londoners as well as Anglophiles around the world. A good film for a rainy afternoon with a"cuppa" and a scone.

It's all about a house and its tenants of very variable kinds, the last one moving in being a confused spiritualist somehow falling out of everything (Alastair Sim in an unforgettable character, later copied by Alec Guinness in "Ladykillers"), while the main character is Richard Attenborough as a young irresponsible luck-seeker without any luck, courting the daughter of the house while his former mistress won't leave him alone, which leads to the tragedy. The house becomes a web of intrigue and complications, the different destinies interlacing each other, leading to confusions and further tragedies - Alastair Sim is really the unluckiest of them all. A fabulous gallery of colorful actors, Stephen Murray and a young Hugh Griffith making a surprise entrance towards the end is just two of them, the idyll develops into a spectacular drama finally involving all London. It's a wonderful story with great warmth and empathy with its characters, almost like a documentary. Unfortunately I haven't read the novel, which should be even better. This is a must see for grass-root people, environmentalists, humanitarians and all defenders of the small people of narrow circumstances and humble conditions, making out the great majority of the ordinary harmless core of humanity.