User reviews

When a young woman's body is discovered on London's Hampstead Heath, the ensuing investigation quickly focuses on racial bigotry and hatred in 1950s Britain, exposing the prejudice amongst those under investigation AND those investigating.

Like so many other films from the 1940s and 1950s, Sapphire is yet another piece of groundbreaking British cinema now long forgotten. A little clunky and overly reliant on stereotyping by today's standards, but still a fascinating exploration of the fears and struggles inherent in a newly mixed-race society. Dearden has brought together an interesting cast here, cleverly giving matinée idol Craig a fairly unsympathetic role as a racist police officer, and being superbly served by Mitchell - her final scene is at once both compelling and distressing. Too many British cinema actors of the 40's and 50's have now been forgotten, and Mitchell is a prime example of why individual and collective reappraisals and retrospectives are long overdue.

Interesting companion piece to 1961's Flame In The Streets, then, and definitely worth catching if you can.

Excellent film, directed by Basil Dearden, who directed Dead of Night and Victim, two marvelous movies.

Sapphire takes place in the '50s - the film was released in 1959 - in England. A young woman is found dead in a park. It turns out her name is Sapphire Robbins, and she was engaged to a young man, David Harris (Paul Massie). The autopsy shows that she was three months' pregnant, and David admits that he was the father.

When Sapphire's brother (Earl Cameron) shows up, the superintendent in charge of the case (Nigel Patrick) is surprised that he's black. Sapphire was passing. The detective wonders if the Harris family knew - - and when they knew it.

David had won a scholarship and was to go off to school - could he be saddled with a wife and child? His father (Bernard Miles) is very protective of him, and his sister (Yvonne Mitchell) is somewhat abrasive.

This is the story of underlying prejudice and assumptions about black people that were pervasive at the time, particularly when this film was made. Notting Hill race riots took place in 1958. These prejudices are expressed by the inspector on the case (Michael Craig), especially the myths of black sexuality.

Dearden liked to tackle these tough subjects, which he does very well, showing it as an underlying constant. Landladies have "white" houses, black friends dropped by Sapphire when she found out she could pass seem to understand her dropping them.

The scene at the Tulips Club is the best in the film, with pulsating bongos and wild dancing. The camera veers all over the room, showing twirling skirts, legs, black people dancing with women who appear to be white. There a man tells the superintendent no matter how white a woman is, you can tell she is actually black because she can't resist the sound of the bongos.

Very strong acting throughout, particularly by stage actress Yvonne Mitchell. One thing that shows that Dearden knew what he was doing -- people's reaction to death. When the woman in the park discovers the body, she doesn't scream. And when David learns of the death of Sapphire, he seems shell-shocked and numb. Sapphire's brother seems very calm, finally breaking down and asking, "How could anyone do this?" All very realistic, all not over the top.

A must see - it is available on Netflix and on Amazon instant video.

I was amazed by the shocking brutality of the racism in this film. In America, we are rarely presented with such casual racism; in films of the 50s, race is practically never dealt with in films, as Todd Haynes "remake" of Douglas Sirk's All That Heaven Allows tries to make up for. And current films about the 50s present such two dimensional characters that it is easy to tell the racist villains from the open-minded heroes. In Sapphire, filmed in Britain in the 1950s, one of the most interesting characters is Michael Craig's detective, supposedly our hero, but constantly making racist remarks. His comments are always countered by the more reasonable older inspector, but this allows his gradual transformation throughout the film. Although some of the film is a bit heavy-handed, ultimately the message is sadly still relevant. 4 out of 5.

This is one of the most shocking films ever made about the true depths of colour prejudice in Britain in the 1950s, and the violent hatreds of black people harboured at that time by the white British working classes, especially in London. The film is well-scripted, and boldly directed by Basil Dearden, and it shows without flinching the true state of feeling as it was in those days (with some strong anti-white prejudice by blacks thrown in, to demonstrate that things are never only one way). What is so utterly horrifying about watching all of this now is, that it really was all true then. It is inevitable that some of the characters both white and black should resemble stereotypes, perhaps for the reason that at that time, people genuinely were stereotypes. The story concerns a police investigation of a murder of a young girl who was a student at the Royal Academy of Music (half way through the film a policeman calls it the Royal College of Music; Londoners are always confusing the two separate institutions in that way, so perhaps this script flaw merely reflects real life). Her body is found on Hampstead Heath in London, and there are no clues apart from the initial 'S' (her name is eventually discovered to be Sapphire). As a crime investigation thriller, the film is solid and extremely well done. A spectacular cameo performance is given by the black actor Robert Adams as 'Horace Big Cigar', not long before he died. The acting is all reliable and convincing. Dearden is especially good at not allowing any of the women and children to scream when discovering a body or having a horrible experience: his technique was extremely subtle, and they instead stifle screams, a scream begins to form, and then they put their own hands over their mouths in horror. When identifying a corpse, the actor behaves as one would naturally do, with numb paralysed shock, remaining silent and staring. All the ridiculous Hollywood histrionics and stock reactions of approved hysteria and screaming females are eliminated from this very British film, in which there is no place for hysteria except with one black character who panics for story reasons. Sociologists should really see this film. However, it is so incendiary that I cannot see it ever being released again or even being shown on television, at least not in Britain. In fact, some of the comments in the film may even have become 'illegal' under the harsh new race relations laws, even in a fictional context! Anyone who thinks race problems have gone away does not know human nature. Sensitivity to small differences, such as skin colour, is so firmly rooted in animal behaviour (the isolation by the herd of the black sheep, the driving away of albino animals from the pack), that race hatreds are inescapable, and can only be suppressed, never eradicated. Seeing this film reminds one of this depressing aspect of life by a blatant portrayal of it which is almost too painful to watch.

At first glance, SAPPHIRE seems to be your usual police procedural murder mystery thriller, with the superintendent and his supporting inspector (both played with bullish charm by Nigel Patrick and Michael Craig) investigating the discovery of a murdered girl in the local park. Indeed, their investigations initially take them down the usual alleyways as they explore the girl's social group, her relationship with a local lad, and some less-than-salubrious locations she was involved with.

However, where SAPPHIRE becomes something much, much more is in its context: race relations in Britain, circa 1959. It turns out that Sapphire herself was actually of mixed race, despite looking white. The discovery of her racial origins underpins the whole story and it's up to Patrick and Craig to unpin the build up to her brutal death. This is a shocking film, exploring the ugly face of racism in its matter-of-fact hatred of blacks and their creed. There's something grippingly realistic about it which makes it all the better film.

The supporting cast is very well picked. Nobody does shifty better than Paul Massie, the primary murder suspect. Earl Cameron is the model of race and refinement as the dead girl's brother. Yvonne Mitchell is superbly twitchy and Bernard Miles convincingly bigoted. Robert Adams supplies the one moment of true humour with his great cameo as Horace Big Cigar. As a film, SAPPHIRE is never less than thoroughly impressive, working well as a piece of social history as well as a fine detective story.

this is one of the most underappreciated films of all times. it is a superbly acted and directed film with a very intelligent and well crafted screenplay. the "twist" is revealed just at the right moment and is not played for any exploitative reason but still resonates throughout the course of the film. i have the video of this film, which is not listed anywhere and just got the poster, that is how much i love this film. if you are looking for a stupid bang bang movie don't bother, if you're looking for a goofy feel good movie, go elsewhere, but if you appreciate well-crafted film making this is your movie.

I saw this movie (for the first time) when cable TV was new to Birmingham, Alabama. It was aired on a channel out of Chicago. Throughout the years, I have tried unsuccessfully to find a copy. Then...about three months ago, I found a collector with a copy in mint-condition. It has been well worth the money I spent. I watch it at least once a week. The cast worked very well together and the soundtrack is still hypnotic. The subject matter is addressed with a level of cinematic respect that makes the viewer sit up and take notice: no cursing and no lewd scenes...just raw and compelling acting. Like a bottle of old wine, Sapphire gets better and better as it ages. I'm hoping that no one will insult those of us who truly love this film by screening a cheesy re-make. That would be an insulting.

So far during this year's Black History Month, I've been reviewing American films. What I'm commenting on now took place and was filmed in Britain. In this one, a Sapphire Robbins (Yvonne Buckingham) is found dead at Hampstead Heath. Superintendent Robert Hazard (Nigel Patrick) and partner Inspector Phil Learoyd (Michael Craig) investigate who done it. Her boyfriend David Harris (Paul Massie) and brother, a Dr. Robbins (Earl Cameron) are also interested though the former has his own secrets to hide along with his sister Mildred (Yvonne Mitchell) and possibly their parents (Bernard Miles and Olga Lindo). By the way, since the doctor has dark skin and his late sister is light, there's also a racial aspect involved...When I first watched this on American Movie Classics back in the mid '80s (by the way, this was the first I actually watched on that channel), it was intriguing enough for me that I would have loved to have seen it again much sooner than just now on YouTube if I had the chance. Now that I indeed have, it's even more compelling as both a mystery and pretty intense drama on the social tensions that I'm sure were very prevalent during that time in England. Especially considering the way characters of both races reveal their prejudices in both subtle and blatant ways. And besides Cameron, other people of color worth noting that appeared here include Gordon Heath as Paul Slade, Harry Gaird as Johnnie Fiddle (who is identified among other Johnnys at a bar), Orlando Martins as a barman, and Robert Adams as Horace Big Cigar. Really, this was a fine British drama that greatly tackled the way prejudices of most kinds were displayed there. P.S. I didn't know about the stereotype of cops having big feet there. Sure beats the one about donuts here!

What should had been a routine murder mystery set in late 1950s London takes a more heated dimension under the hands of director Basil Dearden who introduces for the time the subject of race relations. London had race riots the year before this film was released.

The film opens with the body of a white woman being found, Sapphire. Detectives Robert Hazard (Nigel Patrick) and Phil Learoyd (Michael Craig) investigate the case. They then meet her brother who has come down from Birmingham, Dr Robbins (Earl Cameron) who is black. Hazard assumes Sapphire was his half sister. Dr Robbins tells him that one parent was white the other black. Sapphire was pale enough to pass as white, he came out as more darker. When Learoyd sees him we can tell he does not like black people.

Sapphire's boyfriend David Harris (Paul Massie) becomes a suspect, until just before her death he and his family did not know she was coloured and it turns out she was also pregnant.

The film does not pull many punches regarding pervading prejudice of the time. Basil Dearden made a name for tackling difficult subjects, he would later make the film, 'Vicitm' that dealt with homosexuality. It is also an effective thriller although you do pick up enough clues to figure out who the killer is.

I always read what others have written. This time, with only one exception, everyone considers the film a masterpiece. I do not. The film is boring, the actors' acting leaves it to be desired, the director is confused and he wants to amaze the viewers. It didn't work with me. And, I got to repeat myself: when you'll understand that writing a review here on IMDb does not mean to tell the story of the movie, but to express your opinions, objective or subjective (ideally objective) about the film?

SAPPHIRE (UK 1959) takes a honest and brutally realistic approach to racism: it exists in everyone, white, black or of mixed race. Sadly, that continues to be the case today even if now intermarriage is more acceptable and no longer prevents people renting accommodation, joining creches or schools, and it is less visibly frowned upon.

Director Basil Dearden had already distinguished himself with social comment films as THE BLUE LAMP (UK 1950), in which Dirk Bogarde plays an unrepentant criminal hunted by police in postwar London, THE SQUARE RING (UK 1953), which does not pull any punches analyzing the brutality of boxing and of the people in it, and VIOLENT PLAYGROUND (UK 1958), an ongoing duel between police and an arsonist.

Pity that six decades later racism remains a problem everywhere, and the movie industry, and life in general, continues to try to address that problem with the mendacity of political correctness.

SAPPHIRE does well to show how limited we, the human race, are in dealing with that issue. Even policemen like Learoyd (Michael Craig) are racist at heart, so there is an institutional side to the problem, too.

Direction is very good, although it allows characterization to go over the top in some cases; color photography is outstanding; screenplay is concise and objective; and acting reflects the high competence for which British filmmaking of the 1940s-1960s period was famous for, although I thought Yvonne Mitchell a little bit too unnecessarily hysterical in the key scene in which Sapphire's dark-skinned brother handles a child's doll.

Nigel Patrick's acting is particularly praiseworthy. Detective Hazard (odd surname, nothing hazardous about his character or actions) is an extremely professional, restrained, and experienced policeman standing as the emotional stabilizer in a film of many social and racial angles. He is seldom critical, he just wants justice done regardless of who must pay.

In light of mankind's above mentioned limitations, I suppose that, however incomplete, the pursuit of justice is the best, most practical solution to the continuing problem of racism in today's society, and it is to this film's credit that it highlights it at a time when the UK was beginning to receive a large number of people of other races from its former colonies.

In some ways, SAPPHIRE is well ahead of its time, and it remains very much up to date today.

The real problem with television broadcasting is that the better movies of the last century are held from the viewers. SAPPHIRE could be shown as a double bill with AN INSPECTOR CALLS. There are not enough movie buffs to push some of these classics so that they can be shown to today's audiences ..which would really appreciate them.

Quire controversial on it's release in 1959 because it dealt with subjects that few people were willing to admit existed let alone talk about at that time. Sapphire boasted a strong cast led by Nigel Patrick and Michael Craig, and directed by the prolific Basil Dearden. Harry Waxman's cinematography is very atmospheric and captures a drab,gritty London of quietly desperate people imprisoned by their prejudices and inability to adapt to changing times

Dearden created an almost documentary style murder mystery with characters that seemed more pitiful than likable and the conclusion leaves you feeling somewhat sad and depressed.

Fine performances by Bernard Miles, Earl Cameron, and Yvonne Mitchell add to the proceedings. Look for future stars Barbara Steele and Fenella Fielding in small roles.

Time hasn't less the effect that Sapphire has on the viewer. Its as relevant today as it was in 1959.

A young woman is killed. Detectives Nigel Patrick and Michael Craig search for her killer in this deliberate police procedural. What's distinctive about it is that the murder victim is Black.

Basil Dearden's movie was considered groundbreaking at the time of its release, and more than sixty years later, it's easy to see why. In a Britain in which "Wogs begin at Calais" and people who hailed from Wales were looked on as a lesser breed, Blacks in British cinema were even rarer than in mainstream American movies; they didn't even have train porter and servant roles. So the investigators' journey, taking them into the subculture in London, with its vibrant night life, and smiling, fake subservience, remains a bit of a shocker today. even after a half century of Blaxploitation flicks.

It also makes the point that policemen aren't instruments of justice. In the end, all they can do is be dustmen, restoring a thin veneer of civilization to a broken world.

Basil Dearden directed some dandy films--and a set of them are available through Criterion and frankly, all are quite impressive. With films like "Victim", "The League of Gentlemen" and "Sapphire", it's one of the best collections I've seen from this company.

The film begins with the discovery of a dead woman in the park. However, this turns out to be anything but a routine case when the police investigate. First, it turns out the lady was pregnant. Second, it turns out that although she appeared quite Caucasian, she was black and posing as a white woman. While this sort of plot might seem pretty routine today, back in 1959 it was absolutely daring--and the sort of picture Hollywood NEVER would have done. I not only appreciate the daring subject matter, but also the amazingly unflinching way it approached racism. In fact, I am not even sure that they could make a movie like this today--given the bluntness of the language--but that is what makes this movie great. Racism IS horrible and the language they use make it seem horrible.

The bottom line is that the film is amazingly good. The film is free of clichés and is very well written. I also appreciate the wonderful job Nigel Patrick did in playing the chief inspector--one of the only seemingly sane people in the film! Well worth seeing and amazingly brave. It's not surprising then that the film won the BAFTA (sort of like the British version of the Oscar) for Best Picture.

This Basil Deardon movie addresses the pernicious topic of racism in contemporary England, with the film itself shot in 1959. It's dressed up in a murder mystery which in the end is rather crudely resolved but not before making some telling comments on racial attitudes of the time.

Let's not forget this was Harold MacMillan's England, the "you've never had it so good" generation, now, in certain parts of the country being asked to accept in sometimes considerable numbers, black immigrants for the first time. Then, and I would argue, now, especially when considering how big a part the subject of immigration played in the recent United Kingdom Brexit vote, there has always been a strain of racism, sometimes casual, sometimes deep, running the length of this country.

The Sapphire of the title is the young girl whose lifeless body is shockingly dumped on the local common in the arresting beginning to the feature. We learn that the girl was of mixed race but of what is termed the "light" variety, meaning that she can usually pass for a white girl. A fun-loving, even what you might call a good-time girl, it transpires she has a straight-laced white boyfriend who lives with his father, mother and an older sister who has young twin daughters of her own. While the mother appears to be a tolerant soul, it soon becomes obvious that the father and daughter aren't. No reason or explanation is given for their bias, it's just skin prejudice, no more no less.

We also learn that Sapphire was pregnant at the time of her death, which turns out to be a further motive for her eventual demise. While Nigel Patrick and Michael Craig as the two investigating cops dig deeper into the slain girl's background, her doctor brother, a dark-skinned black man, arrives to help with the police enquiries. The investigation also takes in a local club where foreign nationals meet socially, each, it seems, with their own story to tell about suffering racial abuse, before the murderer is finally revealed in a somewhat clumsy, contrived fashion.

Never mind that though, the film is still a brave one in exposing to cinema audiences of the day the vileness of racial discrimination. We see examples of such practices by many white folk in the cast (such as the common practice of white landlords and here, landladies denying accommodation to blacks), although the scenes taking in the black community itself, implying black-on-black prejudice are less successfully rendered. These characterisations too seem exaggerated plus the crude way that Deardon introduces the dead girl's brother, with a big "Ta-da" musical chord, is somewhat heavy-handed. The "N" word is used however in dialogue and there are other examples of the director pushing the envelope as it were, although I'm not sure the right balance is struck throughout in tone or emphasis.

Patrick is very good as the tolerant and persevering lead detective as is Yvonne Mitchell as the bigoted big sister.. Other pluses are a low-key jazz soundtrack by Johnny Dankworth and the use of actual street locations in and around London. As imperfect and occasionally offensive it may well be to modern day viewers, "Sapphire" still stands out as a significant attempt to at least recognise, address and indeed challenge racial attitudes of the day a good year or two before the more celebrated "A Taste Of Honey".

I first saw the movie Sapphire on the Million Dollar Movie one night and I fell in love with it. I"m one for a good mystery movie and this is the one. From start to finish and when the movie did end I wanted more. The movie's ending will surprise you. The cast was excellent and actors Nigel Patrick Earl Cameron and Yvonne Mitchell were just great. I finally purchased this movie from one of those hard to find videos company on VHS. This movie needs to be released on DVD!!!! The racism in Sapphire was very brutal and honest. Here you had the tragic mulatto who is murdered I think of Imitation of Life where Susan Kohner's Sarah Jane is passing for white to the point she gets beaten up by her secret white lover, she was lucky!!!!!!!

Nigel Patrick is always very good, if somewhat predictable in his performances and makes an excellent policeman. Michael Craig, smoking a pipe, which does him no favours, looks less a policeman but even more the doctor we know him so well in the 'Doctor' films. Then of course Yvonne Mitchell, one of our most underrated actresses the UK has ever produced, eats up her role with absolute ease. The rest of the film is about a black girl, who is always referred too as 'coloured' in those days, who has been murdered. The police go chasing around clubland London accompanied by blaring music until they catch their killer. Pretty good.