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The main storyline is concerned with workers, capitalists and academic thinkers (resp. 'down' and 'stars' ?). And it might become much more relevant again soon. What's the use of a college education in times of recession and strikes? Like Jack Palance said in le Mepris (1963, Godard) 'wise men don't humiliate others with their lesser abilities....'. 'On The Waterfront' was way better on this economic subject, but as far as I'm concerned that was merely because of its director and protagonist. Others might emphasize it is American and has more suspense, which is true.

The dialogues sound kind of flat or monotonous, but the story is absolutely entertaining enough and the cinematography by Mutz Greenbaum (Thunder Rock) is really fine. He especially knows his way with contrast and composition apparently. Carol Reed (Odd Man Out, Fallen Idol, Third Man) gently develops the story and the points he (and writer Alec Coppel, who also wrote Vertigo and Obsession) wants to make. The movie as a whole is a quite moralistic and a bit too sincere, but again the directing and the cinematography more than make up. At last but not least, Michael Redgrave (Thunder Rock, Mr. Arkadin, the Innocents) puts forward a great deal of realism, enforcing A. J. Cronin's points. A point is that different social classes should have more respect for each other because they are complements, not substitutes. Another point is that it is probably a personal story (Cronin's ?). 8/10

The story in this feature is pretty interesting, but even a description of the story by itself would probably not communicate how thoughtful and atmospheric the movie is. It also has some particularly compelling stretches that are hard to forget afterward. Director Carol Reed shows good insight into the characters and the story, the cast make the characters believable and worth caring about, and the technical aspects help you to feel almost part of the action.

Michael Redgrave stars as a young idealist, determined to get an education so that he can improve conditions in the mining town where he lives. Redgrave's performance quietly brings out a lot about his character, as he learns about reality while fighting for the truth. Emlyn Williams is also effective as Redgrave's boyhood friend, who takes an entirely different, amoral approach to the same situation. Margaret Lockwood, well-cast as the rather vain young woman who captivates both of them, adds an important dimension. Several of the supporting cast members also do a good job in limited screen time.

The highlight is the extended rescue sequence in the second half, and it is very effectively done. But one of the reasons that it works so well is that it was prepared by such a solid foundation, establishing the characters and issues carefully so that, when the crisis hits, everything takes on more meaning.

Many of the topics touched upon by the movie are still of significance in themselves, but even beyond that, it creates a good deal of worthwhile drama about society and human nature in general.

This appeared recently on BBC4's 'Coal night' - and seems an apposite choice given the subject matter.

My earliest memory of this story (I'm 42) is the 1974 serial produced when ITV still mattered and wasn't riddled with reality TV, puerile so called comedy and makeover shows. The 'drama' offered up by the third channel now is so lightweight the thought of the likes of the 21st century equivalent of Avril Elgar appearing it seems light years away from what could be described as reality (in the non vacuous sense). It was excellent, as I recall, but I didn't post this just to rant at the decline of ITV's quality standards, that's been done to death elsewhere.

So, the film - it's always refreshing and very pleasing to come across something 'new' from someone who has already earned their spurs elsewhere. Carol Reed needs no introduction to the cognoscenti of cinema - anyone who has seen 'The Third Man' or 'Fallen Idol' will testify to that! What's so good about this film is not only the beautiful evocation of a world long gone (it was made in 1939, just before the outbreak of WW2), but also gives an indication of just how difficult working class life must have been. If you did not work, you did not eat. Pretty much all the people who worked on this film are long dead, but watching it, and with an eye for the accuracy of how social history is portrayed, it's hard not to be moved by the grim reality of the inevitability of 'life down 'pit'. You're born into griding poverty, you grow up a friendly ragamuffin, you mine, you get old, you die.

Unless, of course, you're asked to mine Scupper Flats. The story itself is a strong one. In the days when mine owners swanned around in posh cars and deigned to show up at the pit once in a blue moon, the safety of being asked to mine a new face is called into question by idealistic young Davey Fenwick, who, having got his hands dirty down the mine, attempts a better life by breaking away and trying to earn a degree from the local university. Of course, a woman gets in the way, and the beautiful but manipulative and shallow Jenny Sunley (admirably played by Wicked Lady Margaret Lockwood) eyes an opportunity to 'better herself' financially and persuades Davey to drop out and become a school teacher. Eventually, Davey's idealism and pragmatic suspicions are proved correct, with tragic consequences.

Beautifully acted from a time when real craftsmanship went into British film making, the piece stands not only as great entertainment (though it won't engage 'movie' buffs with short attention spans who think anything pre 2008 isn't worth bothering with), but also as a wonderful piece of social history and a look at an age that's well and truly passed. The portentous voice over at the end reinforces this beautifully, and its idealistic call to action makes me wonder if we really have learned anything at all in the 70 years that followed.

A decade earlier in America, Warner Brothers began making their hard hitting social criticism films about the unjustness of society, about the dregs of society. With the benefit of a decade's experience and technology, this might just be the greatest legacy of those old talkies.

It takes you just two minutes to be totally absorbed into being part of this north east mining town at the end of the thirties. You can smell the coal dust. The struggles of lives like these seem a million miles from ours now but Reed's film doesn't just make you feel you're there, you understand exactly how the characters really thought - what made them tick - you know what they wanted from life.

Beside the utterly absorbing story, what is most striking about this is the stunning photography. Almost every frame is amongst the most perfect examples of cinematography you'll ever see. Like true expressionism, each scene expresses the feelings and moods of the characters you're looking at. In terms of visuals, it is on par with anything David Lean did.

The acting is all wonderfully realistic and genuine. Margaret Lockwood is particularly outstanding. She's usually good in her pictures but is typically just the posh totty. In this she really acts creating a deep, fascinating and perfectly developed girl you feel like you know or would like to know. She plays that selfish, nasty, cruel Jenny with such vitality you can't help but loathe her and love her in equal amounts.

This is one of those emotional dramas that stir you, make you cross about how unfair society was but also make you grateful that things are better. It's actually quite uplifting.

I recently purchased this outstanding movie on video. Michael Redgrave has always been one of the finest actors of his generation and his performance in this film only serves to strenghten my opinion. I was very surprised by the way a film of this era, concentrated so much on the social and economic deprivation of the mining community in Great Britan, surely one of the largest workforce of the time. The struggle for better conditions and the respect of their employers as workers and human beings is perhaps the crux of this story but the underlying sub-plots of human greed and subterfuge made sure my interest never waned. It is to me most memorable as a story of the ordinary man, struggling through adversity, always with dignity and self-respect. Despite the often bleak surroudings and the fact that it is also shot in B&W to maximize this atmosphere, it never depressed me and left me feeling good,long after the last of the credits had rolled.