Joss Ambler Movies

One of the most significant moments in the history of British warfare (in both the best and worst sense) is given reverent but reserved treatment in Dunkirk. The film takes place during the 1940 evacuation of Allied troops across the English channel. One party of British soldiers becomes detached from the rest of the retreating Allies. John Mills plays an inexperienced lance corporal who resists an increase in rank, but when the chips are down performs with courage and authority in organizing the lost troop and shepherding them to Dunkirk. Running 135 minutes in its original release (much of the footage comprised of newsreel shots), Dunkirk was based on two novels: Eleston Trever's The Big Pick-Up and Lt. Col. Ewan Hunter and Maj. J. S. Bradford's Dunkirk. The above time pertains to the original British theatrical version; the film was reedited and shortened to 113 minutes for U.S. release. ~ Hal Erickson, All Movie Guide

Jack Hawkins is starred as a gruff, intensely dedicated Scotland Yard superintendent. Working as much by instinct as through scientific methods, Hawkins and rookie sergeant John Stratton tackle the case of a string of unsolved safecrackings, committed by the elusive Richard Leech. This Dragnet approach gives way to suspense as robbery leads to murder. A neat surprise twist caps this finely honed example of British moviemaking know-how. The Long Arm was released in the U.S. as The Third Key. ~ Hal Erickson, All Movie Guide

In this crime drama, a writer and his wife are sleeping peacefully in their beds when a mysterious woman shows up, gives the writer her gun, also hands him some jewels and asks for a place to sleep. Unfortunately, someone murders her during the night and the author is accused of the crime. Fortunately, he is able to prove his innocent by the story's end. ~ Sandra Brennan, All Movie Guide

The life of the founder of modern Methodism is dramatized in John Wesley. Originally intended for church assembly showings, the film stars Leonard Sachs in the title role. The screenplay charts the Methodist Movement from its inception in 18th century England to the present day. Produced by the Radio and Film Commission of the Methodist church, the film was financed by the contributions of some 500 churches. Unfortunately, the budget didn't allow for a professional cast, thus many potentially worthwhile scenes are laid low by amateurish acting. On the other hand, the film is quite slick and accomplished on a technical level, thanks to the first-rate cinematography of Hone Glendenning and the assured direction of Norman Walker. ~ Hal Erickson, All Movie Guide

Background is a tearful flashback drama centering around a dysfunctional family. Valerie Hobson and Philip Friend play a long-married couple on the verge of divorce. As they ponder the question of who will receive custody of their children (Janette Scott, Mandy Miller and Jeremy Spencer), the couple has second thoughts about their upcoming litigation. It is the children who eventually bring Hobson and Friend back together, though the reunion seems strangely without passion. Background was released in the US as Edge of Divorce. ~ Hal Erickson, All Movie Guide

Also known as Who Goes There?, The Passionate Sentry is a frothy British comedy distinguished by its flippant dialogue exchanges. Peggy Cummins plays a frivolous young woman who becomes enamored of a dour Buckingham Palace guard (Nigel Patrick). While on duty, the guard is not permitted to show the slightest trace of emotion. Off duty it's a different matter, as he becomes intertwined in a romantic triangle. John Dighton adapted The Passionate Sentry from his own hit stage play. ~ Hal Erickson, All Movie Guide

This gentle Ealing Studios comedy features young William Fox as a mischievous English lad. A goodly portion of the film shows Fox and his companions at play, aimlessly but enjoyably wandering about their neighborhood in search of adventure. Eventually the boy finds a discarded magnet, believing it to be a good-luck token; it turns out to be just that, enabling the boy to become a hero of sorts. The Magnet scores with young and old viewers alike, principally because it is told from the boy's point of view. William Fox would later sprout up to become leading British actor James Fox. ~ Hal Erickson, All Movie Guide

London psychiatrist Burgess Meredith takes on the case of schizophrenic ex-POW Kieron Moore. So long as Meredith is diligent in his approach, Moore shows signs of improvement, and a lessening of his more violent tendencies. But the moment Meredith takes too much for granted, Moore goes off the deep end, murdering his wife and committing suicide. Brought up on malpractice charges, Meredith is saved by the testimony of his loyal physician-friend John Laurie, though for a time the psychiatrist's own mental condition is as fragile as that of his late patient. While Burgess Meredith was fond of noting that he had to leave Hollywood for England to find a worthwhile film role, Mine Own Executioner suffered from a bout of Hollywood-style interference in delineating the shady background of its protagonist, which might have clarified several confusing plot points. Still, the film has a lot of "guts," especially for a late-1940s effort. ~ Hal Erickson, All Movie Guide

In this musical, a chimeny-sweep is bequeathed an aging hotel and decides to staff it with his former army buddies. Trouble ensues when two con men try to buy the hotel and it's grounds. They offer the sweep very little, telling him the property is almost worthless. They do not tell him that the value will greatly increase when the new airport is built nearby. Fortunately, the owner and his partners are not about to sell. ~ Sandra Brennan, All Movie Guide

Australian-born comic actor Vic Oliver was usually at his best on-screen when teamed with an unusually talented leading lady. Oliver's vis-a-vis in the British I'll be Your Sweetheart was film favorite Margaret Lockwood. Set in the early 1900s, the film concerns the trials and tribulations of musical-hall diva Edie Story (Lockwood), whose happy-go-lucky partner is one Sam Kahn (Oliver). Halfway through the film, Kahn is shunted to the background when Edie falls in love with aspiring songwriter Bob Fielding, played by up-and-coming Michael Rennie. The outcome of the plot is predicated on a Parliamentary decision which rescued songwriters from being gypped out of their royalties by unscrupulous "pirate" publishers, which happens more than once in the early reels to the luckless Fielding. ~ Hal Erickson, All Movie Guide

Future Dr. Who star William Hartnell heads the cast of the 1949 sociopolitical melodrama The Agitator. Set in a British industrial town, the film stars Hartnell as idealistic union organizer Peter Pottinger. His value as an agitator is compromised when Peter falls heir to the very factory where he works. Now that he's "Capital," Peter finds that he hasn't a friend in the world: his old co-workers despise him for what he represents, while his new colleagues can't forget his previous radicalism. Perhaps to avoid movie-industry ramifications, Capital and Labor are treated with equal fairness in The Agitator. ~ Hal Erickson, All Movie Guide

Set not in the 14th century milieu of Geoffrey Chaucer but in wartime Britain, A Canterbury Tale begins with rural justice of the peace Eric Portman adopting a "lock up your daughters" policy when the American soldiers are stationed nearby. To escape the arbitrary edicts of Portman, British tank sergeant Dennis Price, American GI John Sweet and shopkeeper Sheila Sim head down the road to Canterbury. Each of the principals finds their lives changed by the journey. In particular, Sweet (a real-life American sergeant, rather than the usual stereotyped "yank" common to British war films) encounters genuine romance. A product of the always adventuresome "Archers" (Michael Powell and Emeric Pressburger), A Canterbury Tale contains some extremely creative cinematic moments, though it is the quieter scenes which work best. Esmond Knight narrates the film and shows up in a couple of amusing cameos. A ubiquitous presence on American TV, Canterbury Tale is available in two versions; the American release version, cut from 124 to 95 minutes and including several arbitrary scenes with Kim Hunter, is the lesser of the two. ~ Hal Erickson, All Movie Guide

British stage star Jessie Matthews, who lit up the silver screen in England during the '30s, returned to the screen for her first starring vehicle in five years in Candles at Nine. Adapted from Anthony Gilbert's novel Mouse Who Couldn't Play Ball, it's a haunted house/mystery film along lines that intersect with Gaslight, Rebecca, and a dozen lesser influences from the same genre. Matthews plays Dorothea Capper, a plucky, unpretentious chorus girl who suddenly inherits 100,000 pounds (easily the equivalent of several million dollars in the British economy of the early '40s) from an eccentric great-uncle whom she never even knew. The problem is the disappointed would-be heirs, who would like her out of the way -- one of whom tries to take care of that matter before she even goes to claim her inheritance. The estate itself, called Brakes, is a pretty forbidding place, especially as maintained under the housekeeper Miss Carberry (Beatrix Lehmann), who likes shadows (as opposed to Dorothea, who loves the sunlight). So not only must she contend with the rivals, but with Miss Carberry as her diametrical opposite in just about every way possible, hating the fact that Dorothea is now the mistress of Brakes. And neither the heroine nor the audience can be certain that detective Bill Gordon (John Stuart), who is trying to protect her, is quite up to the job. ~ Bruce Eder, All Movie Guide