Saloon Bar

Supporting the rest of the reviews, this is a lovely little film, really worth watching (I've seen it twice). Indeed the story doesn't really matter, it is the pleasure of watching a tight knit cast who all seemed to be enjoying their work! Gordon Harker was brilliant as was Mervyn Johns, slightly out of the type of character he became better known for later in his career. There were no well known 'stars' just an ensemble of good character actors given a chance to shine.

The film, although released in 1940 is clearly set before the war as apart from anything else, all lights in the pubs were blazing away and there was no mention of the war and no sign of the blitz which started in September 1940.

A little light relief then and now!

A forgotten comedy-drama from Ealing that rarely puts a foot wrong as it deftly picks its way between a number of plot holes and pays no heed to the implausibilities of its storyline. Gordon Harker is on good form as a bookie who leads an investigation by the locals of a pub into the wrongful murder conviction of one of their locals (played by Martin Clunes' Dad) who is scheduled for execution the following day. Mervyn Johns quietly tries to steal the film as that staple of the British local - the regular with his own bar stool.

You get a lovely warm and cosy feeling from watching this. The plot isn't that important, what matters is getting to know these characters. By the end you feel you've known them all your life and that this pub is your very own local.

This was made just after the industry's favourite uncle, Michael Balcon had rescued Basil Dean's faltering Ealing studio. He'd shortly make it one of the most distinctive parts of the mighty Rank empire and this little picture gives a true taste of things to come.

So little happens, the direction is static but none of that matters, it's all about the mood. Ealing Studios would eventually specialise in this style of coziness. A lot of what they made was a bit "too nice" but this early entry still has a bit of 1930s edginess to it.

You'll also be racking your brain like I've been doing for the last 24 hours wondering who on earth barmaid Ivy, played by Anna Konstam is the spitting image of.

This film is based on a stage play but doesn't fall into the traps of adaptation. It is neither static not slow moving.

The film was made by the husband and wife team of Walter and Culley Forde. Very rare for a woman to be in such a position in those days.

A very experienced cast is a great help. Felix Aylmer in a very brief role. Martin Clunes father,Alec,plays the convicted murderer. One of my favourites,Gordon Harker,plays the lead role of a bookie trying to clear the convicted murderer before the following mornings execution. Mervyn John's is propped up in his corner giving forth with often inappropriate sayings.

A first class thriller.

That it was directed by Walter Forde and starred Gordon Harker led me to expect a comedy, and it's certainly played with tongue in cheek, as well as frequently earthy touches (the plot nonchalantly throwing in both prostitution and bigamy).

Obviously based on a play, it never leaves the studio, but the material is lively enough (and atmospherically photographed by Ronald Neame) for it not to matter.

The fact that the plot depends upon the novelty value of pound notes dates it (as does the barrel organ heard outside on the street); while the murder itself recalls the Oscar Slater case of 1908. Amidst the large cast, Harker, Mervyn Johns, Eliot Makeham and Felix Aylmer were plainly never young. But the film's age is also signalled by the extreme youth of Martin Clunes' father Alec (who died fifty years ago), Roddy McDowall popping up under an umbrella as a little boy singing carols; and Mavis Villers, still propping up a bar over twenty years later in 'Victim'.