Daybreak (1949)

Eric Portman (Eddie Tribe/Mendover), Ann Todd (Frankie), Maxwell Reed (Olaf Tyson), Edward Rigby (Bill Shackle), Bill Owen (Ron), Jane Hylton (Doris, the barmaid), Garry Marsh (customer), Eliot Makeham (Bigley, the solicitor), Margaret Withers (Mrs Bigley), John Turnbull (police superintendent), Maurice Denham (police inspector), Lyn Evans (waterman), Milton Rosmer (prison governor).Director: COMPTON BENNETT. Screenplay: Muriel Box, Sydney Box. Story: Monckton Hoffe. Photography: Reginald H. Wyer. Film editors: Helga Cranston, Peter Price. Music: Benjamin Frankel, conducted by Muir Mathieson. Art director: James Carter. Costumes: Dorothy Sinclair. Make-up: Nell Taylor. Camera operator: Bernard Lewis. Assistant director: Basil Keys. Sound recording: John Mitchell, Stephen Dalby. Associate producer: A. Frank Bundy. Producer: Sydney Box.Not copyrighted in the U.S.A. Released through Universal- International in the U.S.A.: July 1949. New York opening at the Little Carnegie: 2 July 1949. U.K. release through General Film Distributors: 5 July 1948. Australian release through Fox: 7 July 1950 (sic). 7,389 feet. 82 minutes.SYNOPSIS: Eddie Tribe, a middle-aged, somewhat aloof but wealthy barge-owner, marries a young piece of flotsam without telling her of his two side jobs where he works under his Mendover alias: (1) barber; (2) public hangman.COMMENT: "Daybreak" is what the trade used to categorize as a difficult film. Its theme and unrelievedly downbeat atmosphere far too grim for both the cloth cap and carriage trade, the movie's only hope of success lay with the critics. Enthusiastic reviews have solved many a problem picture. But not so with this one. My review was probably the best of the lot, although Photoplayer was never the prestigious sort of magazine that could be quoted in advertising. Here it is: "Director Compton Bennett and scriptwriters Muriel and Sydney Box create quite an interesting and suspenseful atmosphere in this unusual melodrama — though they rather spoil it by showing the conclusion at the beginning of the film. And as a further consequence of this incredible piece of ineptitude, the film runs out of steam three-quarters of the way through and ends on a rather contrived and unsatisfying fade-out. "But the performances are superb — though Maxwell Reed makes a little too ludicrous a lover — as is the photography by Reginald Wyer, the seedy sets of art director James Carter, and the astute film editing of Helga Cranston and Peter Pryor."

According to Quinlan this film was held back from release for 2 years because of problems with the censor.Since producers normally worked in co operation with the BBFC this does seem rather strange.Watching the film now and comparing it say with No Orchids For Miss Blandish it is difficult to understand what problems might have arisen.A more likely reason is the sheer grimness of this film.If it was made in 1945 it was hardly likely to appeal to an audience who had only recently been under attach from V2 weapons.So presumably the producers put it on the shelf waiting for a more appropriate moment to show.The film starts with Portman as the hangman approaching the cell of a condemned man and the mood goes down from there,if that is possible.The story is rather a mess and the pairing between Portman and Todd unlikely in the extreme.The ending is about as downbeat as you will ever find.Definitely not a film I would ever wish to see again!

The acting in this film noir is mostly wooden - Ann Todd apart. The best parts were probably left on the cutting room floor,courtesy of the censor. What's left is just the husk of a compelling story from Monckton Hoffe. The fight scene was atrocious and unconvincing, but the film is saved from itself because of the eeriness of the rain-soaked scenes, presumably shot at Hammersmith near the Riverside Studios. Shots of the Palais De Danse and the Rialto seem to give credence to this assertion. Bill Owen is his usual matter-of-fact self, and ends this sad story. The sound quality has suffered over the years - the opening music especially. All the criticism apart, the life on-board a barge and views of Gravesend riverfront before demolition to make way for soulless housing development are good reasons to buy the DVD (if you can find one)- and keep a strong drink handy for the ending. You have been warned.

This powerful British Noir is one of the bleakest films you'll ever see, but with enough empathy for its main characters to justify the gutting 'ironic' ending. The great Eric Portman plays Eddie, a barber and part-time hangman who meets a drenched, world-beaten Ann Todd in a London pub. They fall in love and soon marry, but the spectre of her lust for bad men hangs over them. When Danish seaman Olaf (Maxwell Reed, a touch stiff) takes an interest, you know things are going to go wrong, though just how wrong might surprise you. Portman is a little under-utilised in the final third – a few more scenes of him grappling with his personal demons around the gallows might have made this a classic – but Edward Rigby is strong in a pretty straight dramatic role, and Bill Owen nicely understated as Eddie's sole confidante.Atmospheric direction and terrific performances by Portman and Todd (who generate considerable chemistry) are the main selling points of this bold, original film, though those who prefer their crime pics with an ounce of optimism should avoid. The use of a flashback structure is of questionable value – was that just the demands of convention?(3.5 out of 4)