Lost | |
---|---|
Directed by | Guy Green |
Written by | Janet Green |
Produced by | Vivian Cox |
Starring | |
Cinematography | Harry Waxman |
Edited by | Anne V. Coates |
Music by | Benjamin Frankel |
Distributed by | |
Release date |
|
Running time | 89 minutes |
Country | United Kingdom |
Language | English |
Lost (also known as Tears for Simon) is a 1956 British thriller film directed by Guy Green and starring David Farrar, David Knight and Julia Arnall. [1] [2] It was written by Janet Green. It is set in 1950s London, and revolves around the apparent kidnapping of a young couple's baby. [3]
US embassy employee Lee Cochrane and his Austrian wife discover their 18-month-old son Simon has been abducted, after their nanny leaves the child unattended outside a chemist's shop. London Detective Inspector Craig pledges to find the child, though clues are thin on the ground.
It was produced by Sydney Box who returned to Rank after a long absence. [4]
The Monthly Film Bulletin wrote: "Hackneyed situations and conventional characterisation prevent this melodrama from developing much in the way of tension or emotional conviction, and flat direction has done little to prop up a contrived script. Performances generally are barely adequate, although there are characteristically assured sketches from Thora Hird and Joan Sims." [5]
Kine Weekly wrote: "Intriguing and unusual story, first-class acting and direction, popular cast, smooth dialogue, irresistible feminine angle, good atmosphere, thrilling finale and Eastman Color." [6]
Variety wrote: "Farrar's solid performance is always believable. Knight plays in a single key which tends to become slightly monotonous while Miss Arnall, an attractive newcomer, shows promise for a bright future. Eleanor Summerfield, Anthony Oliver and Thora Hird turn in standard portrayals in support. There's a delightful cameo by Joan Sims as an ice-cream girl. Guy Green's direction extracts most of the suspense from Janet Green's screenplay. Benjamin Frankel's music and Harry Waxman's lensing are plus features. Muyro." [7]
Allmovie wrote, "This nail-biting film is filled to capacity with many of Britain's top supporting players, including Thora Hird, Everley Gregg, Joan Sims, Shirley Anne Field, Joan Hickson, Dandy Nichols, Mona Washbourne, Barbara Windsor and George Woodbridge." [8]
The Radio Times wrote, "this film succeeds because it confronts every parent's nightmare: what happens when you suddenly look away and find your child is missing when you look back? Of course, this being a class-riddled Rank picture, it's the nanny who loses the baby, but it's pretty harrowing nonetheless, despite the casting of insipid David Knight and Julia Arnall as baby Simon's parents. Granite-faced cop David Farrar is on hand to bring grit to screenwriter Janet Green's earnest chase movie, and not-so-hidden among the red herrings are a welter of British character players, with particularly impressive work from Thora Hird. The little-known Anna Turner also gives a fine performance as the tormented baby-snatcher, and Harry Waxman's colour location photography is superb, but the cliff-top climax is a little hard to believe." [9]
Duncan William Ferguson Lamont was a British actor. Born in Lisbon, Portugal, and brought up in Scotland, he had a long and successful career in film and television, appearing in a variety of high-profile productions.
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The Lost Hours is a 1952 British second feature ('B') film noir directed by David MacDonald and starring Mark Stevens, Jean Kent and John Bentley. It was written by Steve Fisher and John Gilling. It was produced by Tempean Films which specialised in making second features at the time, and marked Kent's first "descent", as Chibnall and McFarlane put it, into B films after her 1940s stardom. It was released in the United States in 1953 by RKO Pictures.
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The Lost Hours is a 1952 British second feature ('B') film noir directed by David MacDonald and starring Mark Stevens, Jean Kent and John Bentley. It was written by Steve Fisher and John Gilling. It was produced by Tempean Films which specialised in making second features at the time, and marked Kent's first "descent", as Chibnall and McFarlane put it, into B films after her 1940s stardom. It was released in the United States in 1953 by RKO Pictures.
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