User Reviews

Adolescent English farm-girl discovers an escaped, bearded convict sleeping in the family barn and thinks he's Jesus. Young Kathy needs to believe this, even after the police come to cart him away. He even drops a picture of the Savior, which seems to symbolize not only the prisoner's fall from grace but one more sign for Kathy that, yes, this mysterious man might be Him. "Whistle Down the Wind" is a hard-shelled movie that says we lose hope and faith as we mature--which isn't an original idea for a film, but the cynical way this is presented catches you off-guard. One little boy numbers the eggs he has has eaten (a mixture of his bemusement and his feeling of monotony), one little girl vows to keep counting until Kathy comes out of the barn. These children need to believe too, of course, but they're much more raw than Kathy; they strip ideas down to the basics. Kathy believes blindly. It's a touching character, the centerpiece of the film, and I was enchanted by Hayley Mills' open face and yearning smile. The other youngsters are also remarkable. If the film doesn't offer us fanciful answers, it does provide playful bits of visual humor. Even the rhythm of the kids' words is comical (and the way they relate to one another seems very natural). The film gives away nothing without an eternal struggle, and at the end there is no clear answer. I believe the next day would become routine for the children, they would go back to their basics. But Kathy has changed, and the convict has as well. Their lives intersected for a moment, and, though others became involved, they both learned something from the other about the need to believe. ***1/2 from ****

As my wife termed it, a perfect rainy Saturday movie. From the "kitchen-sink" genre of British film-making, famous for their black and white photography, contemporary, usually working-class settings, characters and dialogue, this appealing film differs from celebrated contemporaries like "A Taste Of Honey", "A Kind of Loving" and "Billy Liar", amongst many others by not being about avowedly adult themes. Instead we get a modern day fairy tale with three young, God-fearing Lancashire children improbably confusing an on the run murderer, secreting himself in their barn, for Jesus Christ.

That's basically it for the plot, but helped by debut director Bryan Forbes' sure touch, amusing, vernacular dialogue from the celebrated Willis & Waterhouse team, sparkling music from Malcolm Arnold and some engaging acting, particularly from the three young principals, modern day cynicism is suspended into disbelief as you follow the movie through to its conclusion.

The depiction of present-day Lancashire is brought home firmly with a combination of convincing exterior and interior sets and Forbes is smart enough to ground the picture firmly in its time with pop references in the background to stars of the day like Cliff Richard and Marilyn Monroe.

Young Hayley Mills, Britain's then popular child-star, demonstrates her ease in front of the camera with a wholly natural performance, full of expression. However the two youngsters playing her kid sister and brother also shine in debut roles, with the Clitheroe-type little lad getting most of the best laugh-out-loud lines; funny as they are, he delivers them like a veteran. Of the adults, the late Alan Bates, as the villain, handles an awkward part deftly, as the horde of curious kids win him over with their adoration.

One can delve deeper into the themes of the movie and see in it an allegory for the loss of innocence and a lament for the passing of Christianity in workaday England. The religious symbolism is inserted with restraint, just enough to keep the story going, without doing it to death. Its layers are certainly there for the perusal of film-students but its many charms will probably set aside more serious critical examination, especially if you're caught indoors of a wet Saturday and this delight is playing on the TV schedules.

Once in a while you come across a film that is perfect - and this film is one of them. It has everything - humour, pathos, skilled acting, beautiful cinematography and it deals with the deepest questions of human existence. I found myself alternating between laughter and tears. It seems to touch on deep themes which films rarely dare to nowadays - themes of belief, faith, and the meaning of love.

The photography of the bleak Lancashire countryside is superbly crisp, the facial expressions of the actors (especially Mr Bates) let us know exactly what is going on in their minds but subtly, in a way that is never seen nowadays in films where everything must be made explicit.The children interact entirely naturally and they are not merely credulous, but curious and questioning ('he's not Jesus, he's just some fella'). Some scenes are deeply moving, in particular when the children dance under a tree to the music of 'We Three Kings' in joy and praise at seeing what they believe to be their Saviour - seeming to sum up the deep, almost pagan connection between religion and the English countryside.

The film deftly deals with the changing England of the time. By the early sixties, mainstream Christianity had begun to lose its hold on the English people (this was the time of Bishop Robinson and the 'Honest to God' debate); the decaying, plundered church is representative of the decline in organised religion, juxtaposed with the 'true' faith of the children. The religious figures, however, are not pilloried as would be the case in most modern films - they are treated sympathetically. I particularly liked the look of awkwardness on the Sunday school teacher's face when she is asked a question about Jesus which she knows she cannot answer with any honesty, and which she clumsily sidesteps.

In many ways the film is an elegy for a lost England - an England where children roam the countryside freely, where the nearest telephone is half a mile away, and where children live in relative material poverty but with strong familial love, where the simple pleasures of life are enjoyed - playing in the open air, having a birthday party at home, or reading late into the night. The film could not realistically have been made even just ten years later.

I have enjoyed reading the comments on this truly marvelous film. Its main appeal is that it has a timeless nature – which explains why so many visitors to this site have only discovered it comparatively recently.

Its primary characteristic is indeed an omnipresent nostalgia, present even on its release . Many who saw it (including myself) when it came out in 1961 were struck by this. I think the major reinforcer of this quality is Malcolm Arnold's hauntingly melodious music – which manages to be both wistfully operatic and deftly atmospheric. Surely this composer is one of those who have managed to capture popular sentiment and combine it with admirable developmental structure.

As for the performances, they are extremely inspired. And I have nothing to add. No one has yet mentioned, however, the superb vignettes such as 'Auntie' with her aversion to port wine 'not since VE day'. These stem, in turn, from the brilliant script by Waterhouse and Hall, and illustrate the way that their TV assignments were overflowing into conventional cinema to great comic effect. Indeed, the references to popular TV shows in their script for this film is a measure of the importance of the box in sociological history .

All in all, a landmark film that has succeeded in touching the lives of many people in its modest and profound way.

Definitely one that should be seen and seen again in the 21st century!

I stayed up late Sunday night and all I knew about this film was what I read in the TV guide, that it starred Hayley Mills (I had only seen her in one other film). I didn't expect this to be such a moving and wonderful film. Kathy (Mills) is a girl who finds a man in her barn who she believes is Jesus Christ (Alan Bates,) but he's really a murderer on the run. Along with her siblings and the other town children they all believe in him and take care of him. The ending is very powerful and moving. Beautifully filmed in black and white, I found this to be a really great film. Hayley Mills is excellent, Alan Bates, all the children and the rest of the cast are all terrific. One of the best 1960's British film that I have watched - 10/10.

A charming film about the importance of Spiritualism in a cynical jaded world. Although misguided, the children's belief in JC was heartfelt and sincere, and for an atheist, it touched my soul (assuming I have one) This was juxtaposed to sour, world-weary attitude of the adults in the film, from the greedy farmhand, who's only passion was his traps, to the aunt, embittered by the fact she's forced to help bring up her children of her brother, after his wife has passed away, and of course in a clever swipe at the religious establishment, with the vicar, who doesn't really get it.

The innocence and charm of the children reminded me of the original Lord of the Flies, another 60's classic, and you can't helped but be enchanted by the young characters, as they interact, often to great comic effect.

There is a moral message behind a fairly straightforward story, and you can take that to heart, and analyse it at length, alternatively you can just enjoy a lovely tale of life seen through children's eyes.

While I was on vacation in England in 1999, I had managed to see Andrew Lloyd Webbers's production of Whistle Down The Wind. I was, to put it simply, completely blown away by it. I loved the the impressive stage work and the the music. Most importantly, though, I adored the story and the characters.

I had heard that the musical was based on a movie with the same name, and made a mental note to try to get a copy of it when I went home. It was a very hard movie for me to obtain, but it was absolutely worth the effort and the money I had spent. It's a shame such a gem such as this one is underrated. If you ever get a chance, please don't hesitate to see this classic.

After saving three poor kittens from the mire, Kathy Bostock finds in barn reborn messiah, a resurrected son of god, it's rather brilliant but quite odd, bring forth the shepherds, kings and angels, go find a choir. With her brother and her sister they hold stum, except to share what they have found with everyone (who's in their peer group), if he's found he might be bound, with thorny brier, he might be crowned, and then who knows, just what misfortune might become.

It's quite a quaint little story, with two wonderful central performances, although the number of pre-pubescent children that would be gullible enough to buy into the central theme today tells its own story, and for good reason too.

A thought-provoking film about childhood innocence and a clever satire on religious beliefs, the plot may not sound like much but it works very well. The visual side of the film is magnificent, carefully directed with an eye for lightness versus darkness and spatial relationships. The shots are all captured well by the cinematographer in simple but effective black and white. It is a tad too slowly paced, with the many non-dialogue sequences dragged out, and the mix of thick accents and whispering makes what dialogue there is difficult to understand at times. But if not perfect, this is still a wonderful piece of cinema. The child performances are generally good, and the satirical bits are genuinely amusing. It is definitely worth seeing if the premise sounds appealing.

An important film of the Sixties, notably for marking director Bryan Forbes' debut, the engaging performance of juvenile actress Hayley Mills, the second movie of Sir Alan Bates and the novel written by Hayley's mother with Hayley in mind. The tale may not be an outstanding one but the film direction combines elements of a good children's film along with good cinematography (Gerry Turpin). Sir Richard Attenborough was the producer.

I've just watched this film (Whistle Down the Wind) for the .... well I don't know how many times ... I first saw it on it's Initial release in 1961, and just like that time, I'm sat here with tears rolling down my face again, BUT!! unlike the first time, as a Christian 12 year old boy, I'm now a Cynical/Atheist 54 year old man ... the acting is Fabulous, I must single out Alan Barnes here, as the young brother, both touching and VERY funny, I'm amazed he didn't carry on to do much more. ... if anyone knows what he's doing now let me know!!! ... IF you get a chance "WATCH IT".

Forbes' well-loved film performs a delicate balancing act between symbolism and naturalism, and does so with sensitivity and humour. His achievement becomes more evident when one considers the recent Andrew Lloyd-Webber version of this story, which considerably Americanised and coarsened it, floundering badly as a result. Director Forbes, whose first and arguably finest film this was, had previously been better known as an actor. His skills and experience are in evidence from the start here, as he brings the best out of the children who make up a good proportion of his cast.

In a film that has a lot to say about the grander issues of religion, a lot of the real pleasure here comes from the quieter interactions between youngsters, as they either gauchely hide things from their elders, or express the ironies of simple belief. Juxtaposing the innocence of childhood with the cruelty and persecution of the adult world, and with a fair dose of symbolism and various interpretative levels, the result is in some contrast to the other prestigious productions of the time. The recent ground breaking kitchen sink dramas such as that by Karel Reisz (Saturday Night And Sunday Morning, 1960) or pictures of aggressive social mobility from Jack Clayton (Room At The Top, 1959) were full of working class characters. They focussed on the newly discovered reality of their aims and aspirations, and were part sociological exploration of class, part attempt to wrestle poetry of sorts from everyday life. While Whistle Down the Wind benefits from the breath of fresh air currently blowing through the British industry - the location shoot and naturalistic performances are especially characteristic and effective - the sympathetic portrayals in the film serve to emphasise the fact that its concerns are less sociological than theological, even if its slightly self-conscious air shows a continuing concern to gain a 'significance' from the community, at least of some sort. It's a film where outright class-consciousness rarely raises its head while the anger of the times, seen elsewhere on the contemporary screen, is almost entirely absent. In fact when they occur at all, such issues only appear in the context of organised religion, as for instance when the children encounter the doctrinal certainties of the local vicar, an aloof establishment figure, much more concerned with the vandalism of his church than the urgent questions of his young parishioners. The irony is of course that, while discussing the missing guttering from the church, he is entirely unaware that real spirituality exists in the barn down the road in the hearts of children.

Whistle Down The Wind is something of a family affair, in more ways than one. Not only do the principals mostly spring from the Bostock family or their close acquaintances, but the film itself is based on a novel by Mary Hayley Bell, the wife of actor John Mills and mother of Hayley - who plays the lead Kathy. Some have objected that she is too old to play the part and, strictly speaking this is true, although on screen her proximity to womanhood allows her "I love you" to The Man Blakey (Alan Bates) a meaning potential unavailable to a younger performer. Hayley's role and performance reminds one of another she had provided a couple of years back, in Tiger Bay, a related tale of a platonic love between a child and a murderer. The star spent a good deal of her early career in British film persuading audiences that she could successfully grow up on screen.

Much of the success of the film springs from its gentle and sophisticated treatment of religion. Put in the mouths of babes, doctrinal criticism is thereby sidestepped and the biggest, potential, objection to the piece - that the confusion of a murderer with Christ might be blasphemous - is largely defused by having The Man say very little (his main conversation, an imitation of the parables, is a re-telling to a rapt audience of 'Ruth Lawrence, air hostess' from a comic). The mistake in recognition is made by innocents, and is therefore understandable. The director overcomes objections by charm. And while Forbes has his Man reinforce the mistaken impression by his opening words, the first sight of him, arms outstretched newly appeared in a 'stable' (a evocative stance reprised as he ultimately surrenders), suggestive heavenward point-of-view-shots and so on, the audience is never made to feel uncomfortable with the suggestions. In fact at a time when the BBFC had firm views on the Church and established religion seen on screen, the only other title that comes easily to mind dealing with such matters in a light-hearted and successful way is the very different Boulting brothers' Heavens Above!, with Peter Sellars.

The film's charm is greatly enhanced by a memorable score by Malcolm Arnold, the highlight of which is reworking of We Three Kings - perkily reprised up tempo as the trio of youngsters pay their homage to their 'Christ', or while choreographing a march down the road. The ensemble playing of the film is excellent. Bernard Lee (more familiar to audiences as 'M' in the James Bond series) turns in sterling work as father Bostock, while among the younger actors Alan Barnes as Charlie is also a standout. It is Charlie who expresses the final disillusionment: "It isn't Jesus, it's just some fella," but faith of sorts remains amongst many of the children, even as Blakey is led away. The film's final sense is of religious reinforcement rather than disappointment ("You missed him this time but he'll be coming again," Kathy tells some latecomers to the barn) while the details of the murder in question is left sufficiently vague so as not to entirely deprive Bates' character of sympathy, even as he is handed over to the authorities. There's a sense that the killer has been redeemed by the innocence and trust of his admirers rather than the other way round - a subtly ironic turn of events, which never the less makes for a satisfying conclusion. For those who enjoy British cinema of this decade the charming experience offered by Forbes' debut is unmissable, while others who have seen the film before there will be no hesitation.

A truly beautiful, beautiful film. I'm in my 30's and would describe myself as an emerging film buff. I've seen all the classics, past and present, and have to say this really is up there as one of my favourites. Filmed nearly 45 years ago, set in the wonderful Lancashire moors, around the town of Burnley, England. This film will do nothing other than warm your heart. The innocence of the lead characters coupled with the respect shown in a bye-gone day, gives you that sentimental feeling, embossed with a sense of pride . I'll spare you the details of what you may watch, but give it a go, and imagine times nearly 5 decades ago, with a simple but interesting plot, and enjoy!

This is my all-time favorite film. It's as close to perfect as a film can be. I first discovered it in 1991, and I was captured and held spellbound by this unpretentious and realistic tale of a group of English children who discover a fugitive murderer hiding in their barn, and believe him to be Jesus Christ. It was an intelligent, entirely believable, charming and powerful film that affected me profoundly.

I managed to dub a VHS tape of it, and watched it over and over again until I practically knew it by heart. I still watch it a couple times a year, and it still moves me to tears and yet leaves me smiling. I cannot explain with words the feelings and emotions it stirs within me.

And not just the story itself, but the whole world of this film is appealing to me, stark and grim though it can appear at times. I don't know if this rural English countryside exists anymore, but I wish I could walk along the crest of that magnificent hill in the early Spring, listening to the birds, and hearing the wistful music of Whistle Down The Wind in my head. Corny? Certainly, but I don't care. I should like to live in this world.

In the meantime, I'll watch the film again, and cry and laugh and believe and hope with these children again.

I've watched this brilliant movie a few times and never get sick of seeing it. Hayley mills is a marvellous actress which we see in this film. Alan bated is a powerful actor, and his part in this film goes to show .more films should be made like this for viewing. the ending is very sad , but there was no escape for him. Hayley's dad in the film comes across a caring considerate father , looking out for his family. the little boy and his sister contributed to the performance , there face when they thought they had found Jesus in the barn was a look of astonishment. great viewing and a brilliant performance from all the cast.

What creates the terribly poignant mood of this movie is the continuing contrasts between Christian teaching and acts, right from the beginning, when the little boy asks the Salvation Army lady if she will take care of the unwanted kitten. She fobs him off with "Jesus will look after it," which of course is worse than useless because it gives the child false hope and makes him feel that loving Jesus is useless too. Couldn't she have made SOME effort to find someone to care for the kitten instead of dispensing vapid promises of universal love? When Hayley Mills asks the Sunday-school teacher what would happen if Jesus came again, the teacher keeps avoiding the question and, when Mills asks, Would they do to him what they did before? is told, they might, because there are still bad people.

As the film shows, the adult world is composed of some people who are bad and many others who are thoughtless and insensitive and have no trouble with saying one thing and doing another. They tell the children to be good but are themselves mean-spirited, harsh, and cruel, and would see no conflict between the two. The Hayley Mills character is so touching because she is just reaching the age at which children stop taking things literally and start turning into adults. We want her to believe that the murderer is Jesus, even though it is a lie, because the "real" world she lives in is so soulless.

Perhaps the most troubling scene is the one in which the local bully, a boy not much older or bigger than the other children, knocks one little boy down and twists his arm while all the others stand and watch. Why do none of the others interfere? Just a few of them could overcome the bully. Hayley Mills arrives, and the bully hits her. She does not fight back, or even react--one must assume because she knows none of the others would help her. These children go to Sunday school, but they just watch, as if they had no sense of right and wrong, only the law of the jungle. They have, in a sense, become adults already--the ones we read about all the time who stand and watch someone being attacked and do nothing.

In a little town in the countryside of England, Kathy Bostock and her two little siblings, Nan and Charles, shelter in their barn three abandoned kittens and (appropriate location) Jesus himself! He is not really the Saviour, though: he is an assassin on the run, who happened to utter the name of Christ when first discovered by Kathy in the barn, before fainting.

Little by little, all the children in town come to believe the man is really Jesus, back on Earth, and try to maintain the secret from the grown-ups, in fear that they may, like the evil people in the past, kill him again.

It's really unbelievable how the plot of the film is taken almost literally from the preceding movie interpreted by Hayley Mills (which you will know, for exemple, as Pollyanna), "Tiger Bay": the little girl and the criminal become friends, that's the kern. "Tiger Bay" is a great film, and "Whistle Down the Wind", though on the edge of plagiarism, is really not bad.

Musical comparison: the many variations, in the couse of time, on themes of the "Don Giovanni" are maybe not like the original, but can be nonetheless really good.

What has been seen of Bryan Forbes (more to see) has really impressed me, 'The Stepford Wives' really stood out to me before my long overdue viewing of 'Whistle Down the Wind' came along. Alan Bates was always watchable and more, have liked him ever since seeing him in 1978's 'The Shout' and he left a big impression on me in 'Far From the Madding Crowd'. Had no doubt that Hayley Mills would be good, having been so impressed by her performance in 'Tiger Bay' in a similar kind of role.

It is great to see that 'Whistle Down the Wind' is so well loved here and elsewhere. It is a wonderful film, one of my favourites of my recent first time viewings and one of those films where my mind is still at a loss as to how it took me so long to see it. Despite it being well loved, 'Whistle Down the Wind' does deserve to be better known and is still overlooked. Am not sure as how popular this opinion will be, but of all the Forbes films seen this is my favourite namely due to being the film that connected emotionally with me the most.

Mills gives a performance every bit as good, and perhaps even better, as the one she gave in 'Tiger Bay'. The wide eyed innocence, charm and pathos she brings so maturely to her role never get too sentimental or too cute. Bates, in only his second feature film(!) gives one of his best performances as well, an intense presence but also an understated one. The chemistry between him and Mills provides some of 'Whistle Down the Wind's' heart and is very touchingly done. All the child acting is very good indeed, in my view some of the best child ensemble acting on film along with 'Stand By Me'.

Forbes directs with great accomplishment, giving the atmosphere forceful gravity and also heart-wrenching delicacy. 'Whistle Down the Wind' looks great, the locations have a lot of very evocative atmosphere while being beautiful on the eyes. The cinematography complements and enhances them beautifully. Malcolm Arnold's score is both charming and haunting.

On top of all that, the script is intelligent and has some amusing and sharp satire and plenty of innocent and touching moments. Doing it without being too wordy or too flowery. The story was one that charmed, moved and inspired me, and is much more realistic than how the premise sounds on paper. It sounds ridiculous on paper, but is actually very delicately done balanced with enough steel to keep things from getting too sappy.

To conclude, wonderful. 10/10

This is one of those fey little conceits you can summarize in a few sentences. The music is obtrusive, dreadful and repetitious. The situation is not believable, especially for Hayley at the age of 15 playing 12. When I look at the splendid range of emotional responses the film Tiger Bay brought out of Hayley Mills, I keep waiting for the movie to draw on her gifts and use them...and it does not. The film plods through its plot with an unshakeable earnestness and 'hit you over the head' symbolism. Hayley was an astonishing talent - she used a richer and more suggestive range of acting skills in Disney's Pollyana than she does here!

Whistle Down the Wind has remained one of my favourite films ever since I saw it as a young child many years ago when my parents took me to see it when it was originally released. The performances by all the children in the film are charming and Alan Bates excels as the criminal who is mistaken for Jesus. For me, the special aspects of the film are its genuine innocence and the capturing of a much simpler time in England that will never return. I myself was born and grew up in the north in an area similar to the one shown in the film and today, now aged 48, watch the film with great nostalgia and a warm feeling about my carefree life as a child. I also feel sadness that many children in our country today cannot enjoy the freedom to roam and play far and wide as I (and the children in the film) could do at that time. I have never met anyone who didn't enjoy this underrated classic and defy anyone not to be moved by the naturalness of the performances. A marvelous addition to anyone's DVD collection and one that I treasure.