La lampe bleue

Classic film, mystery thrillers/crime dramas, the cast in general and seeing Dirk Bogarde pre-stardom was a recipe for greatness. 'The Blue Lamp' is more than great, more like an excellent film.

It is easy to see why 'The Blue Lamp' was considered a classic of the post-war Era, of British cinema and film in general at the time and by those who remember it fondly now. Just as much it was easy to see why it was the most popular British film of its year. Sadly, it is a film that is deserving of more credit nowadays. Despite being as great as it is, 'The Blue Lamp' isn't perfect (but comes close). It is undermined only by two performances that don't make the grade and stick out like a sore thumb compared to the sterling work from the rest of the cast.

One is Jimmy Hanley, who is rather lightweight in his role which is a somewhat dull one to begin with. The other, and more problematic, is Peggy Evans, who is far too histrionic in hers and it becomes irritating, some of it is amateur hour too.

However, nothing can be faulted with everything else. It looks great still, the use of locations are gritty and have a real sense of dread while also being beautifully designed. The lighting is suitably ominous and the cinematography is stylish and every bit as rich in atmosphere. The film is hauntingly scored too and Basil Deardon's direction is taut from the start and never lets go, letting the tension really speak and keeping things at a cracking pace.

'The Blue Lamp' has a tightly structured and thoughtful script, and is interesting for its realistic portrayal of the austere times that pushed people into crime. As well as portraying the police in a way that is of the time but never over-glamourized, trivialised or made to look like fools. The story is always compelling with a clever, if not the most surprising, mystery that delivers on the suspense and tension. The confrontation between Dixon and Riley being unforgettable in its shock value, one of British film history's most shocking.

Evans and Hanley aside, the rest of the cast do sterling work. As good as Jack Warner and Bernard Lee are the film is stolen by an outstanding Dirk Bogarde, it's hard to believe that Riley was a pre-stardom role that put him on the map and to this day it's one of his best, he's never been more chilling than here.

Overall, a post-war British classic, notable for its atmosphere, realism and Bogarde's performance. 9/10 Bethany Cox

This was made just five years after the end of the second world war. Some old folk I spoke to as a kid told me that when they were kids there were no gangs of youths on the streets: there were gangs of men. After the second world war, we began to see the emergence of youth crime. It has grown since then, practically spiralling out of control.

When we look at this film from the frame of reference of the early twenty-first century, this film where the London underworld joins with the police to track down the killer of a policeman looks unreal. If you have read any of the reminiscences of police officers of the period (such as Robert Fabian's "Fabian of the Yard") you will see that this sort of relationship between the police and the underworld is right on the button. This is the sort of thing that would have happened.

The type of policing that this film portrays belongs to a bygone era, when criminals often didn't have cars to make their getaways. It also shows the advantage of the beat copper, who knows his beat so well that if there is anything unusual he notes it down, and if there is any trouble, he has a fair idea of who is causing it. And the pair played by Jimmy Hanley and Jack Warner showed perfectly the inexperienced learning from the experienced. The situations, such as the costermonger being continually told to "move along there" are real for then but not for now, when police work, once done using discretion, is now, like everything else, done by bureaucracy.

The film is shot in north London, in the Paddington, Maida Vale and Westbourne Park areas. P C Dixon's beat is round by the Grand Union Canal in an area known as Little Venice. The police station is the old Paddington Green station, which has since been knocked down and replaced by a new one on the Edgware Road.

What you must not do is watch this film and judge it by today's standards. I am old enough to know that the social conditions portrayed in this film are as realistic as it gets; and so is the way the police operate.

An excellent film.

For those of us on this side of the pond The Blue Lamp is like the striped pole for barbershops only in the United Kingdom it hangs above the entrance to police stations. The Blue Lamp is a story of a pair of helmeted beat cops working out of Paddington Station in London, one a fairly new recruit, the other an old timer thinking of retirement.

The roles are played by Jimmy Hanley and Jack Warner respectively. Hanley was a favored callow juvenile player, doing those roles way past the age he should have is an earnest young officer trying to do his best to make good on the job. Jack Warner who was a music hall performer as well plays the older officer, a kindly veteran who is married to Gladys Henson who both take a parental interest in young Hanley. Their own son had died, most likely in the recent World War. In fact in the shooting on location in London you can see many unpleasant reminders of the war in bombed out buildings, still not repaired or replaced by 1951.

While Hanley is being mentored by Warner, there are a couple of punks played by Dirk Bogarde and Patric Doonan who are busy themselves. They're not taken terribly seriously by really professional criminals. As the film is narrated in talking about wannabes like Bogarde and Doonan it reminded of what John Wayne said in The Shootist that the ones you have to watch out for are the hotheaded amateurs. That's these two in a nutshell.

The Blue Lamp was Bogarde's breakout role and he's charismatic to the nines. He's every young girl's idea of a bad boy they'd like to have a romp with before settling into respectable married life. Such a girl is Peggy Evans who is fascinated by Bogarde and his disrespect for conventional behavior. Look at the home she comes from and you can see why she wants to escape.

The Blue Lamp won the BAFTA award which is the UK equivalent of the Oscar for Best Picture for 1951. It made Dirk Bogarde an enduring star in British cinema and it's a nice tribute to the London Metropolitan Police Force.

When the Blue Lamp was released i was around 3 years old.I therefore do remember the London that it shows.To me the film is more interesting in what it reveals about the London of 1950 than the actual story.It shows the Metropolitan Music hall in the Edgware Road.It was in the last few years of its life before the A4 cutting a swathe into London meant that it was demolished for "progress".Music Hall by this time was in its last throes and what was left would be rendered extinct by the arrival of ITV.We see the Colloseium in Harlesden.Every High Street had cinemas like this.If you look carefully you will see that they were showing "Granny Get Your Gun" a 1940 "B" feature with May Robson.So it was probably a second run house.There are the bomb sites.I remember that in certain parts of London,particularly the East End there mere were more such sites than actual buildings.The streets do not have a great deal of traffic as there was little traffic at that time.So a film of some sociological interest

The Blue Lamp is directed by Basil Dearden and written by T.E.B. Clarke. It stars Jack Warner, Jimmy Hanley, Dirk Bogarde, Robert Flemyng and Peggy Evans. Music is by Ernest Irving and cinematography by Gordon Dines.

Andy Mitchell is a new recruit to the London police force, old hand George Dixon takes him under his wing and shows him the ropes. When Dixon is gunned down by a hot headed crook, Mitchell, the force, and the close knit community, all rally round to catch the villain.

What chiefly makes The Blue Lamp a fine watch is being able to witness the good old days of the British Bobby. It was a time when the copper was a feared and reassuring presence on the British streets, they walked the beat so everyone could sleep easy in their beds, help was but merely a whistle away.

In that, this Ealing Studios production does a wonderful job, the essence is perfect, the locale and the dialect used is absolutely spot on, whilst the story is an accomplished piece that brings to notice the sad emergence of trigger happy crooks, a new breed of thug who's discipline quota was zero. It also looks nice, with a film noir sheen presented for the night-time sequences, while Dearden offers up a great action scene and closes the picture down with a tense chase finale at White City Greyhound Stadium.

There's inevitably some staid performances indicative of the time, and it definitely paints the police and surrounding community through rose tinted spectacles, but they are small complaints that ultimately can't stop The Blue Lamp from being a most engaging viewing experience. 7.5/10