Contentar Best movie of this year hands down!

Fairaher The film makes a home in your brain and the only cure is to see it again.

Derrick Gibbons An old-fashioned movie made with new-fashioned finesse.

Rexanne It’s sentimental, ridiculously long and only occasionally funny

ianlouisiana Mr.S.Baker as a resentful and bloody - minded Detective represents the old time coppers who moved through the ranks on merit. No University Entrant he,fast - tracked for promotion to the highest command. Welsh working - class,veteran of a hundred pub fights,"hard" stops and years of listening to weaselly criminals deny everything until a quick slap brings them to their senses,he is ill - equipped to take on Establishment figures determined to muddy the waters in a murder investigation.Nowadays we would expect no less but in 1959 it was still a bit of a revelation that our betters should conspire to protect their own at the expense of some prole who would never amount to anything,wasn't a Mason and didn't belong to the right clubs. Mr H.Kruger -who had a brief but glorious career in British pictures as a "Good German" despite his Nazi credentials - plays a Dutch artist who is the first and initially only suspect in the murder of his mistress(Miss M.Presle) but as Mr Baker digs around it becomes apparent that he is being denied access to any other line of enquiry. The Establishment,the exemplars of privilege,power and corruption are closing ranks to prevent him getting at the truth. He is cajoled,he is threatened,but he is grimly determined to get to the truth. Seen on the other side of the fence in Losey's later,"The Criminal",Mr Baker has anger and energy to spare and a clear idea of who's side he is on. "Blind Date" is heart on sleeve time for the director and his leading man. Sadly Mister Losey's efforts to reveal upper - class malfeasance were met with political indifference and nearly sixty years later the police are just as spavined by politicians as they were then. The only difference is you've got to have a degree,apparently.Which is nice.

toytrains-492-957106 This may be a black and white film is a great film, but is well worth a viewing as the three leading members of the cast were first rate and it should hold your interest throughout. Stanley Baker was a tremendous actor and plays a determined but sympathetic DI. Hardy Kruger a struggling young artist and Micheline Presle has such poise and beauty that she looked good enough to eat. Gordon Jackson also makes a believable Police Sergeant. As for the rest of the cast in this film they all have the right 1950's 'air' about them The plot has a nice number of twists and the locations in central London and around the then small London Heathrow Airport are nice and nostalgic. London as it used to be.

genet-1 BLIND DATE starts out hampered by a misleading title and the miscasting of the key female role. The meeting in the Tate Gallery between penniless Dutch painter Hardy Kruger and French bourgeoise Micheline Presle is no blind date, but, superficially at least, a simple pick-up - the "chance meeting" of the film's US title. As for Presle, her advances to Kruger appear gauche, even desperate, with none of the allure that would be needed to snare him. A better actress might have accepted that her character would, in that situation, appear clumsy, and play on that, but Presle lets the lines do the work. The film only picks up with the appearance of Losey's preferred male lead, Stanley Baker, as the detective Morgan. With a broad Welsh accent, and troubled by a cold that has him sniffing repeatedly on an inhaler, Baker sketches out the role he would play with increasing assurance in later collaborations with Losey like HELL IS A CITY, EVA and ACCIDENT - a working-class outsider, in revolt against the elite of which he secretly wishes to be part, but which he knows will never accept him. Any strength in BLIND DATE resides in the confrontations between a disheveled, snuffling Baker and the Scotland Yard establishment, represented by three-piece-suited Robert Flemyng and his equally suave subordinate, John van Eyssen. By stressing that Morgan's father was a chauffeur and Kruger's a miner, Losey decisively places both on the opposite side of the social divide from these two, not to mention the awkward, chilly Presle. In a brief but significant scene, Flemyng, having hinted to Baker, none too subtly, that he should frame Kruger if he ever wants promotion, encounters van Eyssen in the corridor and reminds him they'll be meeting socially over the weekend. By contrast, Kruger and Baker languish in the cultural ghetto with losers like Gordon Jackson's PC Plod and Jack McGowran's furtive "nudge-nudge-wink-wink-know-what-I-mean?" postman. The film hammers home this point with its set design, in particular that of Baker's office, a draughty attic with exposed waste-pipes running down the wall. The office, along with Baker's clothing, advertises the fact that, by exposing the real murderer, he has incurred permanent banishment from the circles of power. Losey's supposedly socialist principles are seldom apparent in his films, which are mainly calculated exercises in style, but in BLIND DATE at least he appears to pin his left-wing colours to Baker's crumpled sleeve.

jandesimpson It can sometimes be interesting to study the early work of directors who were later to emerge as important figures in cinema. Some show little indication of what is to come (Carol Reed's "Bank Holiday " for instance) while with others the fingerprints are all there (Hitchcock's "The Lodger" and David Lynch's "Eraserhead"). Joseph Losey falls somewhere between these two extremes. An early work such as "Blind Date" has a competence and clearheaded sense of narrative flow that place it on a higher level than most B-style thrillers to emerge from British studios in the '50's but there is little of the original stamp that was to mark his later work such as "The Servant", "The Go-between" and "Accident". These films provide fascinating commentaries that an outsider from the USA brought to bear on the British class system. There is a little in "Blind Date" about the social hierarchy within the British police force, but this is peripheral to Losey's main task of presenting a neat little thriller well. He keeps the tension going nicely to begin with, with a young Dutch artist visiting a flat where he expects to find a woman he has been having a liaison with, only to find himself soon embroiled with the police. The script has a neat way of evading what is going on until some way into the film. Some of the flashbacks go on for rather too long and are somewhat weakened by a rather wooden performance by Micheline Presle as the woman of mystery. Hardy Kruger, on the other hand, as the young Dutchman is excellent. We really identify with his frustration at finding himself in a situation that is beyond his comprehension and control. As the main detective Stanley Baker plays cat and mouse with his customary skill. "Blind Date" is in so sense an important or significant film, but the fact that it was competently made by a director who was later to produce some outstanding works of British cinema makes it worth a look. There are two other good reasons for watching - photography by Christopher Challis and music by Richard Rodney Bennett - both considerable artists in their respective fields.