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It Always Rains On Sunday (1947)


Main image of It Always Rains On Sunday (1947)
35mm, black and white, 92 mins
DirectorRobert Hamer
Production CompanyEaling Studios
ProducerMichael Balcon
ScreenplayAngus MacPhail, Robert Hamer, Henry Cornelius
Director of PhotographyDouglas Slocombe
MusicGeorges Auric

Cast: Googie Withers (Rose Sandigate); Edward Chapman (George Sandigate); John McCallum (Tommy Swann); Jack Warner (Det. Sgt. Fothergill); Susan Shaw (Vi Sandigate)

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A married woman shelters her former lover in her London home after he has escaped from prison. Discontented with her dull marriage, she begins to rediscover her former love for him.

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Robert Hamer's third Ealing film as director is a bleak, claustrophobic melodrama, showing a seamy side of life. Beautifully shot, with film noir-ish touches and a final pursuit sequence up there with the best. What we see is a morally bankrupt microcosm of post-WWII society, where most characters grab what they can, with no regard for anyone else. Lighter moments can be found, mostly surfacing as sarcastic asides.

sg飞艇真人直播Very early in the film, and reprised at the end, the locked grilles of Whitechapel Underground station stand indicative of enclosure, of being trapped; whether it be by prison (Swann), domesticity (the Sandigates), the rain (everyone). Escape, even by suicide, is (perhaps) impossible - even the parallel but entirely separate attempts by the two leading characters are doomed to failure.

Tensions between notions of decency, and of family (mainly the Sandigates and the Hyams) permeate the film. There are few 'decent' characters: George (Edward Chapman) is one, as is daughter Doris (Patricia Plunkett), and Ted (Nigel Stock). The Sandigates act like a family, but one which may be on shakey ground once we know that Rose (Googie Withers) isn't the mother of the two daughters, particularly as Rose is the one who, in choosing between George and Tommy Swann (John McCallum), could tear the family to shreds. While it is perhaps too fanciful to suggest the ripping of Vi's (Susan Shaw) smart dress by Rose as they struggle for control of the bedroom door could serve as a metaphor for the tearing apart of the family unit, the skirmish emphasises the problems beneath the surface. The Hyams family, meanwhile, is tested by Morry's (Sydney Tafler) womanising, with its older generation scandalised by Lou's (John Slatersg飞艇真人直播) apparent wheeling and dealing.

Apparently, Bethnal Green residents of the time protested at their portrayal (many of the characters are crooks or chancers, and at least one kills), and there were censorship problems. The Cinematograph Exhibitors Association's reviewer declared it "an unsavoury film... with appeal only to those with very broad minds". Despite this it was Ealingsg飞艇真人直播's box office hit of the year.

David Sharp

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Video Clips
1. Opening montage (0:40)
2. News of Tommy (2:35)
3. Rose and Tommy (2:23)
4. Rainswept romance (1:40)
5. Railway chase (4:22)
Original posters
Production stills
Monthly Film Bulletin review
Auric, Georges (1899-1983)
Baddeley, Hermione (1906-86)
Bass, Alfie (1920-1987)
Cornelius, Henry (1913-1958)
Hamer, Robert (1911-63)
Hanley, Jimmy (1918-1970)
MacPhail, Angus (1903-1962)
Slater, John (1916-1975)
Slocombe, Douglas (1913-)
Tafler, Sydney (1916-79)
Warner, Jack (1896-1981)
Withers, Googie (1917-2011)
Social Realism
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