From a train window, crane-driver Michael Redgrave thinks he sees a woman being strangled. What follows is an unusual and effective story involving a magician, his assistant wife and a subtle interplay of illusion and murder. Refreshingly directed by the overlooked Herbert Mason, and well performed throughout (particularly Redgrave and Sally Gray), this small gem benefits greatly from its varied and credible London backgrounds, including music halls (including magic shows), mundane work places not normally seen in British films of the period, and construction work on Waterloo Bridge, under which the National Film Theatre is situated (which is where I last saw this film).
18 Reviews
One Crazy Night
boblipton23 April 2017
Michael Redgrave is on the train to his job as a crane operator. He sees at a window Paul Lukas killing Sally Gray.
It's a great start for a movie, and it was used before. LADY IN DISTRESS is a remake of the French METROPOLITAIN. I'd like to offer you a comparison of the two movies, but I've never seen the earlier film. I do know that Michael Redgrave is miscast as a working stiff who rides around in taxicabs. Sally Gray, on the other hand, impresses me as more than eye candy with a sullen expression for the first time. She's very good as the unwilling femme fatale who drives her husband, stage magician Lukas, crazy with jealousy, talent manager Hartley Power, sad with hopelessness and Redgrave mad with the possibilities of a magical night.
There are many early noir elements in this movie, filled, as it is, with Gallic fatalism, and can be viewed as an important step in its evolution. It's just not a film noir in itself.
It's a great start for a movie, and it was used before. LADY IN DISTRESS is a remake of the French METROPOLITAIN. I'd like to offer you a comparison of the two movies, but I've never seen the earlier film. I do know that Michael Redgrave is miscast as a working stiff who rides around in taxicabs. Sally Gray, on the other hand, impresses me as more than eye candy with a sullen expression for the first time. She's very good as the unwilling femme fatale who drives her husband, stage magician Lukas, crazy with jealousy, talent manager Hartley Power, sad with hopelessness and Redgrave mad with the possibilities of a magical night.
There are many early noir elements in this movie, filled, as it is, with Gallic fatalism, and can be viewed as an important step in its evolution. It's just not a film noir in itself.
Bridge Too Far
writers_reign26 September 2015
Warning: Spoilers
In the past decade I've watched several British films produced in the lat 1930s - including Climbing High which featured Michael Redgrave - and all were risible despite names like Ralph Richardson and Carol Reed adorning the credits so I wasn't expecting too much when I opted for this but as a great admirer of Michael Redgrave I went along and was presently surprised. It's not, of course, without flaws - Michael Redgrave is arguably the least convincing crane driver in the history of film and how many crane drivers sport a display handkerchief in the breast pocket of a suit and/or frequent West End night clubs, but if we overlook this - plus the fact that Redgrave, having seen what appears to be a murder through the window of 1) a train on which he is passenger and 2) the window of a flat in a large block, is then able to leave the train at the next station and identify not only the anonymous apartment block but also the flat in which the incident took place - we are left with a tasty little thriller, excellently cast with Paul Lukas and Sally Gray as the husband and wife in the window and Patricia Roc as Redgrave's wife. There's a fair amount of location shooting - Redgrave is actually helping construct Waterloo Bridge - and the scenes inside a theatre have a flair and polish sadly lacking in Hitchcock's similar attempts. Albert Prejean and Ginette Leclerc starred in the French original 'Metropolitan' which by all accounts was greatly inferior. I'd definitely buy this on DVD were it available.
Presto Chango
drednm3 January 2019
Nifty little film with a surprise ending!
Michael Redgrave is on his way to work via train when he sees what looks like a murder in an apartment window. When he goes to investigate (with a cop in tow) it turns out to be something else altogether.
He meets a magician (Paul Lukas) and his beautiful wife/assistant (Sally Gray) and gets involved in their lives (and unhappy marriage). As he gets pulled into their lives, he becomes more and more attracted to Gray. Meanwhile, his own wife (Patricia Roc) is having her own problems at work.
What starts out as the act of a good Samaritan turns into a meandering tale of intrigue. This one never quite goes where to expect it o. Worth looking for.
Redgrave, Gray and Lukas are all especially good in this one. It's a wonder that Sally Gray wasn't scooped up by Hollywood.
Michael Redgrave is on his way to work via train when he sees what looks like a murder in an apartment window. When he goes to investigate (with a cop in tow) it turns out to be something else altogether.
He meets a magician (Paul Lukas) and his beautiful wife/assistant (Sally Gray) and gets involved in their lives (and unhappy marriage). As he gets pulled into their lives, he becomes more and more attracted to Gray. Meanwhile, his own wife (Patricia Roc) is having her own problems at work.
What starts out as the act of a good Samaritan turns into a meandering tale of intrigue. This one never quite goes where to expect it o. Worth looking for.
Redgrave, Gray and Lukas are all especially good in this one. It's a wonder that Sally Gray wasn't scooped up by Hollywood.
British film with some zigs and zags
AlsExGal16 September 2017
Warning: Spoilers
This starts off as a "love on the dole" flick, though these two newlyweds (Michael Redgrave and Patricia Roc) are employed. Redgrave works the day shift as a crane operator on the Waterloo Bridge project and Roc works the graveyard shift as a hotel telephone operator. Due to their schedules they don't have much time to see each other. Then it turns into a suspense movie when Redgrave sees what appears to be a murder while he is riding on the train to work.
After some investigation, it turns out he saw Lukas, as the magician Zoltini, practicing a knife trick with his wife, the very lovely Sally Gray. Lukas is the very jealous type, so he thinks that Redgrave is flirting with Gray, which he is, though in a minor way. Gray is tired of hubby's jealously, so she leaves him and finds Redgrave. They engage in a little smooching, but that's about it. Redgrave returns to his wife and Gray returns to her husband and it looks as if things will work out for both couples.
Then Lukas finds some money and a airplane ticket in Gray's purse, both of which are gifts from their manager. As expected, the old boy blows his top and shoots Gray dead. All of this occurs just as Redgrave and Roc are riding in the train and go past the window of the other couple. Now, isn't life strange.
Sally Gray is a very lovely lass, and one wonders why she is married to Lukas, who is old enough to be her father. It's workmanlike film, and I wonder what Hitch could have done with the same material. He surely would have improved it and given it more life. Still, it is worth watching anyways.
After some investigation, it turns out he saw Lukas, as the magician Zoltini, practicing a knife trick with his wife, the very lovely Sally Gray. Lukas is the very jealous type, so he thinks that Redgrave is flirting with Gray, which he is, though in a minor way. Gray is tired of hubby's jealously, so she leaves him and finds Redgrave. They engage in a little smooching, but that's about it. Redgrave returns to his wife and Gray returns to her husband and it looks as if things will work out for both couples.
Then Lukas finds some money and a airplane ticket in Gray's purse, both of which are gifts from their manager. As expected, the old boy blows his top and shoots Gray dead. All of this occurs just as Redgrave and Roc are riding in the train and go past the window of the other couple. Now, isn't life strange.
Sally Gray is a very lovely lass, and one wonders why she is married to Lukas, who is old enough to be her father. It's workmanlike film, and I wonder what Hitch could have done with the same material. He surely would have improved it and given it more life. Still, it is worth watching anyways.
A Window into London.
morrison-dylan-fan25 June 2021
Warning: Spoilers
Getting back to the hotel I was staying at in Milton Keynes on a weekend with friends,I decided to end the night by watching a film on TV. Discovering that the Talking Pictures TV channel was about to show an obscure title,I got set to look out of a window from London.
View on the film:
Questioning the sight he might have seen from his seat on the train, Michael Redgrave gives a delightful turn as Peter Thompson, whose salt of the earth cheeky chappy is rubbed by Redgrave with a Film Noir curiosity which stops Peter in his tracks. Unable to cast a spell to get Peter to lose interest in him, Paul Lukas gives a magical turn as Louis Zoltini,whose flamboyance masks a macabre sting.
Tracking pass Waterloo Bridge being built, (which unlike the way it is depicted in the film,was largely built by women,not men) director Herbert Mason & cinematographer Glen MacWilliams signal a Film Noir fog atmosphere with stylish distorted panning shots which criss-cross Peter and Luis, and shiny whip-pans on Luis and his magician assistant Vivian Zoltini (played by the charming Sally Gray) impressive illusions acts, illusions which despite his best attempts,fail to hide Luis's crime.
Sending Peter off the tracks over suspicions that he has witnessed a murder, the screenplay by Brigid Cooper and Ian Dalrymple adapt the original film Metropolitain (1939) with an odd casualness, as Peter's initial rush of blood to the head cools down,until a wickedly strange left-field ending crosses romantic rails for Peter,and a Film Noir end of the line for Luis from out of a window in London.
View on the film:
Questioning the sight he might have seen from his seat on the train, Michael Redgrave gives a delightful turn as Peter Thompson, whose salt of the earth cheeky chappy is rubbed by Redgrave with a Film Noir curiosity which stops Peter in his tracks. Unable to cast a spell to get Peter to lose interest in him, Paul Lukas gives a magical turn as Louis Zoltini,whose flamboyance masks a macabre sting.
Tracking pass Waterloo Bridge being built, (which unlike the way it is depicted in the film,was largely built by women,not men) director Herbert Mason & cinematographer Glen MacWilliams signal a Film Noir fog atmosphere with stylish distorted panning shots which criss-cross Peter and Luis, and shiny whip-pans on Luis and his magician assistant Vivian Zoltini (played by the charming Sally Gray) impressive illusions acts, illusions which despite his best attempts,fail to hide Luis's crime.
Sending Peter off the tracks over suspicions that he has witnessed a murder, the screenplay by Brigid Cooper and Ian Dalrymple adapt the original film Metropolitain (1939) with an odd casualness, as Peter's initial rush of blood to the head cools down,until a wickedly strange left-field ending crosses romantic rails for Peter,and a Film Noir end of the line for Luis from out of a window in London.
part thriller, part emotional drama
myriamlenys10 February 2019
Warning: Spoilers
A crane operator goes to work by taking the London Underground. Looking out of the window as his carriage passes a row of houses, he catches a fleeting glimpse of what seems to be a crime : a man savagely stabbing a woman. Being a good citizen, he interrupts his journey and goes to fetch a policeman. It turns out that he did not witness a crime, but something else entirely...
Part of "A window" is set in the world of professional magicians. It's a loving and knowledgeable description of a certain type of magic and magic-related entertainment circa 1930, 1940. So that's certainly an asset. The movie also carries a useful message which is still relevant today : women and girls, NEVER pick a jealous partner. His anger and suspicion will make your life hell and there's nothing you can do to change him, since he's probably smarting over some psychological slight or trauma (real or imagined) dating back to early childhood. Try reasoning with someone who is still angry because his mother stopped breastfeeding him when he turned two...
Finally the movie works up to a crashing ending, which is all the more shocking and sad for following a seemingly happy plot development.
So "A window" is certainly worth a watch. On the other hand there is something unsatisfying and unfinished about the movie. I got the impression that it needed some final editing, some final polish. I do not know what exactly caused the problem but it is reasonable to think of the timing of the production ; the movie seems to have been made either when war had already broken out or else when war had become inevitable. It must be a hellacious job trying to finish a movie when artists get called away on military service, when experts get called away on strategically important work or secret missions, when stocks run low, when newspapers bring tales of daily horrors, and so on.
Anyway, it is poignant to look upon images of a teeming, lively city, and to realize that many of the people and buildings involved were about to get changed beyond recognition - or worse, were about to get wiped out of existence.
Part of "A window" is set in the world of professional magicians. It's a loving and knowledgeable description of a certain type of magic and magic-related entertainment circa 1930, 1940. So that's certainly an asset. The movie also carries a useful message which is still relevant today : women and girls, NEVER pick a jealous partner. His anger and suspicion will make your life hell and there's nothing you can do to change him, since he's probably smarting over some psychological slight or trauma (real or imagined) dating back to early childhood. Try reasoning with someone who is still angry because his mother stopped breastfeeding him when he turned two...
Finally the movie works up to a crashing ending, which is all the more shocking and sad for following a seemingly happy plot development.
So "A window" is certainly worth a watch. On the other hand there is something unsatisfying and unfinished about the movie. I got the impression that it needed some final editing, some final polish. I do not know what exactly caused the problem but it is reasonable to think of the timing of the production ; the movie seems to have been made either when war had already broken out or else when war had become inevitable. It must be a hellacious job trying to finish a movie when artists get called away on military service, when experts get called away on strategically important work or secret missions, when stocks run low, when newspapers bring tales of daily horrors, and so on.
Anyway, it is poignant to look upon images of a teeming, lively city, and to realize that many of the people and buildings involved were about to get changed beyond recognition - or worse, were about to get wiped out of existence.
atmospheric London mystery
blanche-211 October 2019
Known in the U.S. as Lady in Distress, A Window in London from 1940 stars Michael Redgrave, Sally Gray, Paul Lukas, Patricia Roc, and Hartley Power.
Redgrave plays Peter, a crane operator who one day, on his way to work via train, thinks he sees a murder. He gets off the train, grabs a bobby, and takes him to the building and apartment where it took place - after barging in on a couple of the neighbors.
The residents are magician Zoltini (Lukas) and his wife Vivienne (Gray). She's still alive, and Zoltini explains what Peter must have seen - Vivienne is on the bed - we assume they had a physical fight. Zoltini is a washed-up magician, an angry, jealous man who ruins their bookings with his bad temper.
The story of Peter and his wife Pat (Roc) and Zoltini and Vivienne intertwine. Pat works nights at a hotel switchboard, and she and Peter don't see much of each other. Peter goes to see Zoltini's show; when it's time for Vivienne to disappear, she really does - into a cab with Peter. He takes her to where he works, and it's obvious he's smitten with her.
Zoltini tracks down Peter and a showdown ensues.
Thanks to a good cast, A Window in London comes off pretty well and moves at a decent pace. Redgrave is young and charming, Gray is beautiful, unhappy, and vulnerable. Roc is sympathetic as a hardworking woman who feels she is losing her husband.
The last few minutes of this movie are unexpected, to put it mildly.
Very good.
Redgrave plays Peter, a crane operator who one day, on his way to work via train, thinks he sees a murder. He gets off the train, grabs a bobby, and takes him to the building and apartment where it took place - after barging in on a couple of the neighbors.
The residents are magician Zoltini (Lukas) and his wife Vivienne (Gray). She's still alive, and Zoltini explains what Peter must have seen - Vivienne is on the bed - we assume they had a physical fight. Zoltini is a washed-up magician, an angry, jealous man who ruins their bookings with his bad temper.
The story of Peter and his wife Pat (Roc) and Zoltini and Vivienne intertwine. Pat works nights at a hotel switchboard, and she and Peter don't see much of each other. Peter goes to see Zoltini's show; when it's time for Vivienne to disappear, she really does - into a cab with Peter. He takes her to where he works, and it's obvious he's smitten with her.
Zoltini tracks down Peter and a showdown ensues.
Thanks to a good cast, A Window in London comes off pretty well and moves at a decent pace. Redgrave is young and charming, Gray is beautiful, unhappy, and vulnerable. Roc is sympathetic as a hardworking woman who feels she is losing her husband.
The last few minutes of this movie are unexpected, to put it mildly.
Very good.
Terrrible ups and downs in marriages and night life between life and death in London
clanciai4 January 2019
This is an amazing thriller mainly consisting of surprises all the way. It starts like a comedy , and the comedy mood seems to be its dominating element, but then enter the abyss of jealousy. Sally Field is the wife of a magician whose life is a tempestuous roller-coaster of failures and redemptions, and into this messy life of an incalculable jealous artist of some diabolical talent (Paul Lukas, fresh from "The Lady Vanishes") comes Michael Redgrave clumsily interfering in what he believes is a murder attempt of Lukas on his wife. Well, Michael is also married, but his wife gets sacked from her job, while Michael gets mixed up with the jealous husband, and it all seems to go really bad for everybody. But you are still in for many surprises.
It's a wonderfully witty film, almost heralding the best moments of Powell & Pressburger and with some definite elements of Hitchcock, the scene at the night club is a highlight, and the theatre scenes with some extras are also hilarious with an expected tragic climax, trigging quite a few catastrophes - but never mind, this is first class entertainment all the way, and afterwards you will feel kind of upside down. The script is by Ian Dalrymple, and I think that's where most of the credit should go. An additional asset, though, is a very accomplished music score by Bretton Byrd.
It's a wonderfully witty film, almost heralding the best moments of Powell & Pressburger and with some definite elements of Hitchcock, the scene at the night club is a highlight, and the theatre scenes with some extras are also hilarious with an expected tragic climax, trigging quite a few catastrophes - but never mind, this is first class entertainment all the way, and afterwards you will feel kind of upside down. The script is by Ian Dalrymple, and I think that's where most of the credit should go. An additional asset, though, is a very accomplished music score by Bretton Byrd.
Interesting View on London in 1939
malcolmgsw15 September 2012
Warning: Spoilers
This film is not just interesting for its intriguing story but also for its view of London in 1939 just before the outbreak of war.Many central areas around the Houses of Parliament and the Abbey are on view.Also of course the construction of the present Waterloo Bridge which has a distinctive modernist style quite unlike any other London Bridge.The film has many virtues and one failing.The story is very neat with a ending with a twist in it.I am surprised the censor let it through as of course crime had to be shown not to pay.The one failing is the casting of Michael Redfrave.A crane driver he is not.he is far too refined.In fact his is the least interesting role.Bt far the best and showiest is that of Paul Lukas who does well in what for him would become a stereotypical role.All round an extremely interesting and entertaining film.
Close, but no Hitchcock.
mark.waltz15 November 2017
Warning: Spoilers
Witnessing an apparent murder while taking a train to work, bridge builder Michael Redgrave gets involved and finds more than he bargained for with Sally Gray, the apparent victim. It's a strange setup, starting with Redgrave's wife (Patricia Roc) walking out on her job and ignoring important instructions, heading home for time with her husband. The focus then switches to Redgrave, getting a police officer to break in on the apparent murder, only to find that there wasn't one it's egocentric magician Paul Lukas and his own wife (Gray) allegedly rehearsing, but as we soon see, Lukas is jealous, domineering and even a bit maniacal. Redgrave's intrusion into their lives increases and he manages to sneak Gray out of the theater during a performance. Meanwhile, Roc is fired from her job and becomes concerned when her husband does not come home.
This is bizarre, not only in structure, but in its general storytelling. There seems to be no real point in the twists and turns, and after a while I began to realize that there was no real reason for the many directions this seems to be going in. What works here are all the little details. The film opens with a shot of the Thames and the many bridges that cross, plus there's also extended location sequences of regular people going about their day. Even a rehearsal between Lukas and Gray goes into detail with his egotistical explosions and proper choreography of how the act is supposed to work. If I learned anything from this, it's to try to stay out of people's business as much as possible. You never realize the messes that can add onto your own. Be warned: the ending is a real downer!
This is bizarre, not only in structure, but in its general storytelling. There seems to be no real point in the twists and turns, and after a while I began to realize that there was no real reason for the many directions this seems to be going in. What works here are all the little details. The film opens with a shot of the Thames and the many bridges that cross, plus there's also extended location sequences of regular people going about their day. Even a rehearsal between Lukas and Gray goes into detail with his egotistical explosions and proper choreography of how the act is supposed to work. If I learned anything from this, it's to try to stay out of people's business as much as possible. You never realize the messes that can add onto your own. Be warned: the ending is a real downer!
Domestic Violence
richardchatten3 December 2020
A remake of a French film made four years earlier called 'Metropolitan' transformed by it's journey across the Channel. The vivid record of prewar London before the railings came down is today naturally the film's main attraction, although the production design of the interiors also contributes it's fair share of atmosphere.
In support of a young and rangy Michael Redgrave are Paul Lukas (who Redgrave had just worked with on 'The Lady Vanishes') and Hartley Power (who Redgrave would later shoot in 'Dead of Night').
In support of a young and rangy Michael Redgrave are Paul Lukas (who Redgrave had just worked with on 'The Lady Vanishes') and Hartley Power (who Redgrave would later shoot in 'Dead of Night').
Gilbert vs Dr. Harz Round Two
howardmorley21 November 2014
Warning: Spoilers
In 1938 Paul Lukas and Michael Redgrave crossed swords in the acclaimed "The Lady Vanishes" and here two years on they have another bout with the illusionist Zoltini played by Paul Lukas and Michael Redgrave as Peter from their respective former roles of Dr.Harz and Gilbert.This time Patricia Roc plays Pat, Peter's wife while "hot totty" Sally Gray plays Vivienne married to Zoltini.Other reviewers have discussed the basic plot and no I won't provide a spoiler as there is a kick in the end of the film which is well produced.I wonder how many buildings survived the forthcoming blitz from 1940 onwards as there are some interesting shots of London filmed in 1939 with the tube trains running.
I found the screenplay somewhat contrived especially the scene where the tycoon misses his plane to Moscow which crashed because telephonist Pat failed to first warn him about his flight.However this incident gives the producer the excuse to follow the moral cinema code and enabled both Pat and Peter to go to both work together during the day and not continue with their "Cox & Box" sleeping arrangements.Peter had a job keeping his hands off Sally Gray's character and remembering his marriage vows.Offstage, blonde Sally Gray married a lord and lived to be 90 and her husband to 100!Imdb.com rated this film 6.9 when I wrote this review and I rated it 6 as above average.
I found the screenplay somewhat contrived especially the scene where the tycoon misses his plane to Moscow which crashed because telephonist Pat failed to first warn him about his flight.However this incident gives the producer the excuse to follow the moral cinema code and enabled both Pat and Peter to go to both work together during the day and not continue with their "Cox & Box" sleeping arrangements.Peter had a job keeping his hands off Sally Gray's character and remembering his marriage vows.Offstage, blonde Sally Gray married a lord and lived to be 90 and her husband to 100!Imdb.com rated this film 6.9 when I wrote this review and I rated it 6 as above average.
A Window in London
henry8-32 October 2022
Crane operator Michael Redgrave sees what he thinks is a murder through a window on his way to work. It turns out to be magician Paul Lukas rehearsing with his wife Sally Gray. Redgrave gets briefly smitten with Gray much to Lukas' chagrin and it all ends in tears.
Silly British thriller directed with such a frivolous, light weight touch George Formby could have have taken the lead, although to be fair Redgrave does have presence. The film just rambles endlessly without much in the way of tension or direction through a series of unlikely scenes until it finally draws to a daft conclusion, articulated bizarrely in some reviews as a twist. A complete mess.
Silly British thriller directed with such a frivolous, light weight touch George Formby could have have taken the lead, although to be fair Redgrave does have presence. The film just rambles endlessly without much in the way of tension or direction through a series of unlikely scenes until it finally draws to a daft conclusion, articulated bizarrely in some reviews as a twist. A complete mess.
Enjoyable, well-directed movie with puzzling denouement
rockymark-309742 March 2021
This movie was excellently directed and acted, almost flawlessly so. Yet the plot lost focus along the way and created too many ambiguities.
Sally Gray was the primary interest in the film. Though compared to Ginger Rogers, she was more like Veronica Lake. Indeed, at the end she actually appears with her hair in a peek-a-boo style. She looked stunningly beautiful in the film throughout but also gave a superb performance.
The problem is it's hard to justify why she would stay with her husband/partner who showed almost no virtues throughout the film. To make a relationship like that work, the husband should have been written as loving for the most part with a little flaw of temperament. As it is it's hard to see what someone like Vivienne (Gray) could see in him, especially since he seems much older than her and is not especially good-looking. It's true she admires his illusionist artistry, but that's hardly enough to keep a woman attached to a man.
Also puzzling is the man-wife relationship of Michael Redgrave (Peter) and his wife, Pat, played by Patricia Roc. Their relationship is barely touched upon and seems out of place in the film. Moreover, the film apparently sees no problem in Peter's obsession with Vivienne, which actually amounts to adultery (he kisses her passionately) though they have no sex in the film. The failure of the film is it doesn't even address the implications of Peter's double romantic life as if it were of no consequence. Keep in mind the year the film was made, which makes Peter's potentially adulterous affair even more puzzling. Did audiences of the time care?
I also found the brusque ending a letdown. It's an ending that might work in a half-hour Alfred Hitchcock Presents episode, but not in a feature-length movie where we develop an affection for the leading lady.
Finally the subplot regarding Pat's telephone job seems too episodic with the rest of the film.
But one can cast all that aside and enjoy the stunning beauty of Sally Gray, the fine direction, acting, and editing throughout and even some illusionist episodes,
Sally Gray was the primary interest in the film. Though compared to Ginger Rogers, she was more like Veronica Lake. Indeed, at the end she actually appears with her hair in a peek-a-boo style. She looked stunningly beautiful in the film throughout but also gave a superb performance.
The problem is it's hard to justify why she would stay with her husband/partner who showed almost no virtues throughout the film. To make a relationship like that work, the husband should have been written as loving for the most part with a little flaw of temperament. As it is it's hard to see what someone like Vivienne (Gray) could see in him, especially since he seems much older than her and is not especially good-looking. It's true she admires his illusionist artistry, but that's hardly enough to keep a woman attached to a man.
Also puzzling is the man-wife relationship of Michael Redgrave (Peter) and his wife, Pat, played by Patricia Roc. Their relationship is barely touched upon and seems out of place in the film. Moreover, the film apparently sees no problem in Peter's obsession with Vivienne, which actually amounts to adultery (he kisses her passionately) though they have no sex in the film. The failure of the film is it doesn't even address the implications of Peter's double romantic life as if it were of no consequence. Keep in mind the year the film was made, which makes Peter's potentially adulterous affair even more puzzling. Did audiences of the time care?
I also found the brusque ending a letdown. It's an ending that might work in a half-hour Alfred Hitchcock Presents episode, but not in a feature-length movie where we develop an affection for the leading lady.
Finally the subplot regarding Pat's telephone job seems too episodic with the rest of the film.
But one can cast all that aside and enjoy the stunning beauty of Sally Gray, the fine direction, acting, and editing throughout and even some illusionist episodes,
I hope they're as happy as we are
AAdaSC10 November 2023
Crane operator Michael Redgrave (Peter) works on the construction of Waterloo Bridge during the day whilst his wife Patricia Roc (Pat) is a telephone operator on the nightshift. They only have one day when they actually see each other. Sounds like a perfect relationship. Anyway, they want to ruin this balance by spending more time with each other and the ideal would be for Roc to get a day job. One day Redgrave witnesses a man murdering a woman outside an apartment whilst he is travelling on the train to work and he goes to the apartment to investigate. This is when we are introduced to illusionist Paul Lukas (Zoltini) and his assistant Sally Gray (Vivian). These encounters are life changing for all involved.
The idea is a good one although it stretches belief and we follow a love triangle or 2 or 3 - Sally Gray seems to be popular with the fellas - and the film follows Redgrave on quite an eventful night when he attends a music hall performance. Blimey!
For those who are familiar with Redgrave's ventriloquist act from "Dead of Night" (1945), given that we enter the music hall/theatre environment you will excitedly will him on to produce his dummy and show everyone a true spooky act. However, he stays away from any such performance, preferring instead to give us a rendition of a stupid song at a late-night party - "Let's all sing like the birdies sing, tweet tweet tweet tweet tweet".
You won't expect the ending and it is a dark twist when set alongside the words uttered as the final line of dialogue. It makes it a good film and wraps things up nicely - ha ha!
The idea is a good one although it stretches belief and we follow a love triangle or 2 or 3 - Sally Gray seems to be popular with the fellas - and the film follows Redgrave on quite an eventful night when he attends a music hall performance. Blimey!
For those who are familiar with Redgrave's ventriloquist act from "Dead of Night" (1945), given that we enter the music hall/theatre environment you will excitedly will him on to produce his dummy and show everyone a true spooky act. However, he stays away from any such performance, preferring instead to give us a rendition of a stupid song at a late-night party - "Let's all sing like the birdies sing, tweet tweet tweet tweet tweet".
You won't expect the ending and it is a dark twist when set alongside the words uttered as the final line of dialogue. It makes it a good film and wraps things up nicely - ha ha!
An Illusion - Or Is It??
kidboots30 April 2017
Warning: Spoilers
Just a terrific little movie - a variation of "Lady on a Train"(1945) and then some!! Instead of a dotty Deanna Durbin addicted to detective stories, you have a young Michael Redgrave as Peter, a sleep deprived mechanic who, as befits wartime austerity, is juggling shifts with his telephonist wife Pat (a young and very pretty Patricia Roc) - they only see each other over breakfast tea and toast!! Then disaster strikes - Pat is sacked but Peter is having an adventure that day that will top hers!! While on the train to work Peter thinks he sees a murder but when he fronts up to the flat with a policeman in hand, it is to find he has only witnessed a rehearsal from the Great Zoltini (Paul Lukas) and his rather nervous assistant Vivian (Sally Grey) - it was all an illusion!!
But the reality is different - Zoltini is volatile and insanely jealous, Viv, though loving him, is frightened and fed up!! When Peter is cornered by a roving reporter for a "hero of the hour" interview, the hard luck story the Zoltini's tell him about their once great success evaporating due to a fickle public, makes front page news and they find theatre managers clamouring for their act!! But only because of the admiration and liking for Vivian - as soon as they get to the theatre Zoltini throws tantrum after tantrum!! He is so impossible Vivian does the unforgivable and walks out before the finish leaving Zoltini a laughing stock on the stage. She runs into Peter and through his confidence and support she finds the strength to leave Zoltini.
For just over an hour, it packs plenty of wallop, once Peter leaves Viv with the man who's always loved her and can make her a success, life becomes more simple. Pat has now got her old job back with an added bonus that she is now on day shift, but the ending has a gruesome twist of which Peter is blissfully unaware of.
By 1940 Sally Grey had already been in films for 10 years but as this film showed she was very capable of tackling characters of many dimensions. First billed Paul Lukas had already spent the 1930s as a dependable Hollywood star. This movie was made just before his return to America where he found his greatest triumph as the sympathetic German in both the stage and film versions of "Watch on the Rhine".
Highly Recommended.
But the reality is different - Zoltini is volatile and insanely jealous, Viv, though loving him, is frightened and fed up!! When Peter is cornered by a roving reporter for a "hero of the hour" interview, the hard luck story the Zoltini's tell him about their once great success evaporating due to a fickle public, makes front page news and they find theatre managers clamouring for their act!! But only because of the admiration and liking for Vivian - as soon as they get to the theatre Zoltini throws tantrum after tantrum!! He is so impossible Vivian does the unforgivable and walks out before the finish leaving Zoltini a laughing stock on the stage. She runs into Peter and through his confidence and support she finds the strength to leave Zoltini.
For just over an hour, it packs plenty of wallop, once Peter leaves Viv with the man who's always loved her and can make her a success, life becomes more simple. Pat has now got her old job back with an added bonus that she is now on day shift, but the ending has a gruesome twist of which Peter is blissfully unaware of.
By 1940 Sally Grey had already been in films for 10 years but as this film showed she was very capable of tackling characters of many dimensions. First billed Paul Lukas had already spent the 1930s as a dependable Hollywood star. This movie was made just before his return to America where he found his greatest triumph as the sympathetic German in both the stage and film versions of "Watch on the Rhine".
Highly Recommended.
A vibrantly written, engagingly brisk, warmly nostalgic cinematic treat!
Weirdling_Wolf29 June 2022
Herbert Mason's lustily performed, enjoyably light-hearted romantic thriller 'A Window in London' still retains its effervescence, being a vibrantly written, engagingly brisk, warmly nostalgic cinematic treat! This frequently refined vintage entertainment documents some truly evocative moments along with its beguilingly monochrome views of 1940s London! And certainly no less appetising is the vivacious, and disarmingly pretty Sally Gray who makes for an especially charming, drop-dead gorgeous heroine! With her crisply moustachioed, monstrously arrogant, ferociously jealous illusionist hubby brought to meticulous life by Paul Lukas, who energetically portrays the picture-perfect pantomime villain Louis Zoltini with a deft Lugosian panache! Far from primitive, Mason's pristine 'A Window in London' is not only a fascinating window into a bygone Britain, it also maintains lively interest as a pleasingly whimsical, sweetly romantic, deliciously theatrical romp in its own right, and while the tall, almost absurdly photogenic Michael Redgrave is, perhaps, a trifle miscast as the cavalier, rough-handed cockney crane driver, he nonetheless remains a sympathetic lead, whose gallantly dramatic intervention playfully heralds an eventful jaunt across the picturesque diorama of 1940s London.
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