ShangLuda Admirable film.

Borserie it is finally so absorbing because it plays like a lyrical road odyssey that’s also a detective story.

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

alanwriterman With reference to the cardboard bridge and fake 'bus being pulled across it in "Gideons Day ", the same bizarre thing happens in the 1961 film "No Love For Johnnie ".Whenever Peter Finch and his fellow actors are on the terrace of the House Of Commons ( a studio set )with Westminster Bridge in the background, the bridge is obviously a piece of scenery and every now and then a flat cardboard 'bus and the occasional car can be seen juddering back and for. In real life of course, even in 1961 there would have been a constant stream of traffic on the bridge.It's an unbelievably ( and laughably ) cheap effect, especially in such a gritty, kitchen-sink style political drama which was pretty sensational stuff at the time of its release. Yet no one mentions it on the films IMDb page!

writers_reign This has just aired at 1.20 p.m. on British television and all I can say is it would have been better to screen it at 4 a.m. or, better yet, turn it into banjo picks. I struggled to stay awake and had to force myself to keep watching. Seldom have I seen anything more dire. I've always found John Ford vastly overrated but he must have phoned this one in from Monument Valley. Even John Paddy Carstairs would be reluctant to take a credit for this inept, unexciting, indifferent blancmange. Virtually every second-rater in the British film industry at the time is wheeled out and given two minutes or so and the only reason to name them would be in order to spin this notice out into the required ten lines that IMDb insist upon but as I've achieved that I'll leave them unmolested though I can't say with any conviction unembarrassed. Run a mile from this garbage.

tedg I fall easily into the worlds of great filmmakers. I do, even when the skills are outstripped by the ambition. I have many that I seek out.So it puzzles the daylights out of me that I just cannot see Ford as one of the greats. Not as a filmmaker. Yes, I grant that he deeply understood the western and was able to fill it several times, counting "Grapes" as a western. But when he tries to tell a story as a story instead of a variation on something embedded in us, he falls flat."Valley" was nicely photographed, but was a disaster in terms of the long form. Probably the most offensive film was his "Irish" film which brought the western and plunked it down in Ireland. It was as crass as the American in the thing.So I sought this out. This would have been a thrice matured Ford, one worried about narrative structure. Here, he walked into the only other genre as entrenched as the western, the detective story. I wanted to see. If he was a master, if he understood the form at all, we may see something extraordinary. It didn't matter whether it was a good film or well received. I expected it to be interesting to see the choices he made.Well, there's the same spicing with humor as usual. And the same competent lighting. The actors seem at ease.But check this out: there is no long form at all, only a sequence of episodes, some of which are loosely related. What we get instead is Ford experimenting with the pace of dialog. All of his regular films have a languid rhythm of speech. I think he made John Wayne act and carry himself with this retarded swagger. In fact, I think he created the man himself, who he routinely called stupid.In this film, I believe Ford wanted to play with a different pace. The lines here are delivered fast. This denotes (at least here) quicker minds than usual. There surely are a large number of crimes being solved with offhanded ease. Part of the joke is how easily it appears to others in the story as well.That may have been enough reason for Ford to make this. But it is hardly enough for us to watch it.Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

whpratt1 John Ford produced this picture and it was very entertaining from beginning to the end with Jack Hawkins playing the role of Inspector George Gideon who is a top crime expert in London, England and always manages to get his criminal. George Gideon is never at home and one morning his wife asks him to bring home some salmon for guests she was having for dinner and he files the fish away in a file cabinet in his office. However, Gideon does catch a serial killer with the help of a rookie policeman and always seems to drink while on duty and comes home for lunch with his fellow Scotland Yard buddies and has a fews beers and then runs off to solve another crime. Anna Lee plays the role as Gideon's wife and never complains about his weird comings and goings. This film had me laughing through out the entire picture and I therefore consider this to be a great comedy film from 1958.