A rather splendid 1947 b/w film from the Ealing Studios. I find a lot of these films a little too sentimental and the acting a bit too stagey but this is a real surprise. Great dialogue, convincingly conveyed and together with super cinematography combine to make this a truly enjoyable if nostalgic view. The locations are more Camden than the East End, except for glimpses of Whitechapel at the start but no matter, it all looks good and the views of the railway marshalling yard at the end quite stunning. There is a central story but is is intercut with others and the whole thing bounces along nicely. Even the kids are all right and the amusing bits still amusing. Really though this is a very believable view of London's East End just after the war. Bomb sites, rationing and everyone trying to make the most of what they had. Also there was a feeling that the cops and robbers weren't really that different from each other, just on different sides and the important thing was to survive. Well worth a watch.

A superb study by Ealing studios, of a working class family, in the east end of London, after the 2nd World War. Googie Withers plays a harassed housewife, who during one Sunday lunchtime, discovers that her old boy friend, Tommy Swan, has broken out of jail and is in need of help.Local policeman Jack Warner is given the task of hunting him down. This film gives the viewer a fascinating look at life in England, in the late 1940's and early 50's. Look out for one scene, featuring the milkman, delivering milk, and his horse, walking up the centre of the street, and knowing just when to stop and when to go. Well worth watching.

"It Always Rains on Sunday" from 1947 is an example of the proto "kitchen sink" or slice of realism dramas that would be done a great deal in the '50s and early '60s. Post-war, the emphasis turned to the working class rather than the upper classes.

The film follows several subplots going on in Bethnal Green in East London, which is a working-class district. The first subplot concerns an escaped criminal, Tommy Swann (John McCallum) who hides out at the home of his ex-girlfriend Rose Sandigate (Googie Withers). Withers and McCallum were married in real life, and often worked together.

Rose is now married, but she agrees to help Tommy because she's still in love with him. Her husband George (Edward Chapman),a good man, is older than she is, and together they have a son George also has two older daughters who dislike Rose.

One of the daughters, Vi (Susan Shaw) is extremely pretty and has a married boyfriend, Morrie Hyams. Morrie is married to a shiksa who knows all about his philandering.

Doris (Patricia Plunkett) has a boyfriend but has caught the eye of Morrie's brother, a shady character. Then there are the cops searching for Swann, and three crooks trying to sell a gross of roller skates.

The main focus is on the family and the fact that Rose is hiding Tommy upstairs.

The end is very exciting except for the fact that for one of the scenes, miniatures were used, and it's so obvious, it's funny.

The film is loaded with atmosphere - the action occurs on a rainy Sunday with people in the pubs, the street market, a dance hall, and even an open-air boxing match, rigged by Lou Hyams, Morrie's brother). George Sandigate likes to play darts at the pub, have his pint, a little nap, and play harmonica with his son.

This film was a big hit at the time and is considered by many to be a classic today. It was directed by a very talented man, Robert Hamer, who clearly shows the lives and emotions of these characters. He went on to direct his biggest hit, "Kind Hearts and Coronets," but ultimately succumbed to alcoholism in his early fifties.

Very good drama, showing London life and family life of the working class.