Gideon's Day aka Gideon of Scotland Yard (1958)

[moira finnie]

'One thing I want to get straight with you, Ken, is that I'm not one of those airy-fairy, artsy-craftsy directors that you might have worked with before. I don't shoot up an actor's nostrils and I don't put the camera betweeen his legs. I tell a story and I shoot it the way I think that story should be told. Once we understand each other on that level, I'm sue we'll get along just fine.' ~ John Ford to young production designer Ken Adam, just prior to working together on"Gideon's Day" (aka Gideon of Scotland Yard), from "Print the Legend: The Life and Times of John Ford" by Scott Eyman.

And Ford proceeded to prove his apparent "artlessness" with his brisk but casual direction of the Jack Hawkins movie shown on TCM last night. I sat down to catch Gideon of Scotland Yard last night, and found that Jack Hawkins' somewhat exasperated performance provided the single strand that kept this fast-paced, off-hand film from John Ford from flying completely apart. Jack Hawkins was skilled at communicating impatience bordering on rage--note the Fordian vigor with which he threw his hat not once, but twice and his frustrated anger with the very young policeman he encountered on his way to work. He also conveyed a comfortable, if strained domestic affinity with Anna Lee as his wife and his children. I was quite entertained by the sea lion noises that he made for the kids at the breakfast table.

Do you think that director John Ford had a stopwatch while filming some scenes? This observation is prompted by the sometimes blistering pace of this movie, which was almost too much to focus on. Of course, being John Ford, he also stuffed the film with several "pip pip, old boy" parodies of Englishmen, though, and Ford's heavy-handed humor threatened to topple the film's likability a few times, but the pacing helped this aspect of the film as well. Thankfully, Hawkins character was allowed to be revealed as a professionally competent individual under constant duress during his hectic day. The whirlwind effect of the film almost made such actors as John Loder whiz by without notice, but there were a few standouts among the characters, notably Grizelda Hervey as the slightly tipsy older wife of a policeman under suspicion, Laurence Naismith in a bit of an uncharacteristic part as a mentally unbalanced man, and delightfully, the actress Doreen Madden as a nutjob who accosts Hawkins as he attempts to nurse a quiet beer in a pub. I was also delighted to see Ronald Howard, (Leslie Howard's son), appear as an off kilter artist in a vivid little part. I enjoyed Cyril Cusack's mumbling informer and it was fun spotting some other character actors from earlier Ford films as they popped up, notably Donal Donnelly in a bit as a feral footpad following Cusack on the underground.

Actually that beer and all the numerous references to drink in the movie were quite noticeable, and makes me think that Ford was certainly wrestling with his own alcoholic predilections throughout this movie, which is laced with constant attempts at imbibing a bit of devil's brew--though poor Hawkins rarely seems to finish anything.

In addition to the beautiful, realistic looking police station, homes, banks and studios created by Ken Adam in this film, I was delighted to discover that Freddie Young, the masterful cinematographer of such films as Lawrence of Arabia (1962), among others, had photographed this in warm, lovely color.

While not a great film, it was enjoyable, and interesting to see as a Ford fan. Could this possibly mean that John Ford's other "lost" film from that same period, The Rising of the Moon (1957) might reappear on TCM in the near future?

[jdb1]

Moira, I watched a piece of this film, and found it (unintentionally)hilarious. All that portentous music, drab and obvious dialog, and close-ups of guilty or worried faces. One thing came to mind: Dragnet.

Only - not nearly as good. Frankly, I thought it was pretty awful.

J

[moira finnie]

Judith,
I totally agree about that bombastic score, which boomed without any sense throughout the film. I guess I'm just such a hardcore John Ford, Jack Hawkins & J.J. Marric fan that I could endure the drawbacks and focus on the admittedly small diamonds glittering in the dust in this one.

Shame on composer Douglas Gamley for that music, and Ford should've known better and cared more about that aspect of the movie.

[MissGoddess]

I really liked it and thought with relief that thankfully Ford was directing this, meaning that's why the actors showed emotions and Gideon was provided with a warm family life, which probably would not be be case otherwise. As for the alcoholic references, I can tell you beer and drinking is on the minds of the Londoners constantly---so that was totally accurate. *lol*

I like the way he depicted the "posh's" who bungled the St. James robbery and so cruelly gunned down that poor slob except that this segment was passed thru too hurriedly---I wanted to really see more.

Someone at the "other" forum mentioned this felt like it could have easily turned into a fascinating tv series, and I agree.

I am surprised TCM didn't air The Sweeney, another look at the "Flying Squad" of Scotland Yard starring a youngish John Thaw.

Miss G