Violent Playground

I read Paul's comment as to the film's location in Liverpool,but the school used was St Mary and St Michaels,Sutton street in Stepney London. the schools name was changed to Scotland rd. I was one of the children who looked on with much interest,and we were watching the catering waggon which had real cream cakes,and suddenly Peter Cushing appeared and told the man to give us a cake each,the man's face turned to thunder. also i remember a stunt man hurt himself falling from the school's window and missing the mattress's. I suppose they use a location,then switch to another like they did with To sir with love.

Jeff.

VIOLENT PLAYGROUND sees tough detective Stanley Baker assigned to a new role after falling foul of his boss; he's directed to head up a juvenile crime prevention scheme. Baldwin fears that his new role will be anything but interesting, but things turn out otherwise as a sub-plot involving an arsonist terrorising the streets of Liverpool becomes mixed up with the main story.

This is a gritty, ahead-of-its-time thriller that mixes social drama with a hard-hitting crime flick. It's surprisingly modern in feel, with tight, character-based drama mixed with action, ranging from car chases to hostage scenarios and of course one or two fiery set-pieces. Basil Dearden's black-and-white photography is crisp and clear and he makes sure to elicit strong performances from his cast members.

Baker is one of those underrated actors who sort of got forgotten about after his death, aside from his role in ZULU, of course, but he's very good given the right material and VIOLENT PLAYGROUND is perfectly suited for his talents. Baker is supported by an engaging cast, including Anne Heywood's love interest and Peter Cushing's priest, and it's worth looking out for future stars Tsai Chin and Freddie Starr in more minor parts. The best actor of the lot is David McCallum in a real star-making turn as the disturbed delinquent whose storyline propels the narrative. Altogether VIOLENT PLAYGROUND is a pacey and engaging piece of film-making which mixes drama and thrills in an effective way.

Stanley Baker plays a Liverpool police detective who is reassigned to a special Juvenile Liassion Department, which takes this film into the world of a large public housing project teeming with youth of all ages who are seemingly teetering on the edge of becoming responsible adults or the criminals the movie portrays, played quite well by David McCallum and the other tough actors who play his hoodlum friends and followers. There's an awesome opening shot of McCallum and his boys within the confines of the project, and the film interjects Baker into this world through his relationship with two childhood twins who play McCallum's younger siblings, and their older sister, whom Baker begins to fall for. Things get a little bit unbelievable as the film progresses, but the focus on alienated youth bopping along to a rock and roll song isn't half bad, and the conclusion, which seemed to me to be too much of a stretch, was still shockingly well done.

This film was the first British teen movie to actually address the reality of the violent rock and roll society, rather than being a lucid parody of 1950s teenage life. In an attempt to celebrate the work of Liverpool's Junior Liaison Officers the opening title points out that 92% of potential delinquents, who have been dealt with under this scheme, have not committed a second crime. However, this becomes merely a pretext to the following teen-drama until the film's epilogue where we are instructed that we shouldn't feel responsible or sorry for such delinquents however mixed-up they might seem.

Stanley Baker plays a tough detective who reluctantly takes on the post of Juvenile Liaison Officer. This hard-boiled character is a role typical of Baker. Having been currently on the trail of a notorious arsonist known as the firefly and does not relish the distraction of the transfer. However, as in all good police dramas he is led back full circle by a remarkable turn of events, back to his original investigation.

His first case leads him to the home of two young children, Mary and Patrick Murphy (played by real-life brother and sister duo), who have committed a petty theft. Here he meets Cathie (satisfyingly portrayed by Anne Heywood) their older sister whom he eventually becomes romantically involved with. It quickly becomes obvious that the squalid environment of such inner-city estates is a breeding ground for juvenile delinquency.

The elder brother of the Murphy family, Johnny, is the leader of a gang of rock and roll hoodlums. McCallum does an eye-catching turn as the Americanized mixed-up kid, who owes more to the likes of Marlon Brando, than any previous British star. One is reminded of Brando's character Johnny from 'The Wild One' who led a leather-clad gang of rebellious bikers in much the same way as this film's 'Johnny' leads his gang.

Thankfully the preachiness of earlier Dearden crime dramas such as 'The Blue Lamp' is not so apparent. Instead we are presented with several well drawn-out characters on both sides of the law as the drama of the delinquents and the romantic interest between Heywood and Baker takes the forefront.

The plot, whilst at times predictable, does deliver some memorable scenes. The disruptive influence that rock and roll music was thought to have had is played out in a scene where Johnny abandons himself to the music, leading a menacing advance on the police sergeant. The most grippingly memorable piece of film however is the climatic classroom scene where a bunch of terrified school children, including Mary and Patrick, are held hostage at gunpoint by Johnny. Obviously in the light of the real-life Dumblaine Massacre this scene seems all the horrifying. Understandably because of this the film is seldom aired or available to modern audiences.

1958's "Violent Playground" hasn't seen much airplay over the years, one of Britain's earliest answers to "Rebel Without a Cause" or "The Blackboard Jungle" (children in jeopardy too often a disturbing reality). The Johnny Luck recording "Play Rough" is heard over the opening credits (and throughout), as Det. Sgt. Jack Truman (Stanley Baker) switches from a case of arson to the Juvenile Liaison Division, unaware that his 'firebug' will soon reveal himself among them. Filming on location in the Gerard Gardens tenement of Liverpool (demolished in 1987), any clichés that pop up scriptwise are averted by strong performances, as the two young twins are surprisingly well played by real life twins Brona and Fergal Boland (never to do another film). Real life siblings Michael Chow and Tsai Chin (Lin Tang opposite Christopher Lee's Fu Manchu) are also cast as brother and sister, while the leads are portrayed by Anne Heywood and David McCallum, still seven years away from THE MAN FROM U.N.C.L.E. but already displaying a smoldering, sullen presence on screen (if perhaps at 24, too old for a teen). Other commentators have complained about the love interest, but it's not that intrusive, while a surprisingly ineffective Priest, Father Laidlaw, is essayed by rising Hammer star Peter Cushing, who at least informs Baker's officer about some of the characters' backgrounds (the two actors would reunite for 1962's "The Man Who Finally Died"). Other Hammer faces on view include Clifford Evans, George A. Cooper, and Melvyn Hayes, the young Baron in "The Curse of Frankenstein," who again worked opposite Cushing in 1959's "The Flesh and the Fiends" and 1979's "Touch of the Sun."