Hue and Cry


Action / Adventure / Comedy / Crime

Rotten Tomatoes Critics - Certified Fresh 74%
Rotten Tomatoes Audience - Upright 74%
IMDb Rating 6.9 10 1137


Uploaded By: OTTO
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July 02, 2015 at 02:18 AM


Alastair Sim as Felix H. Wilkinson
Andrew Sachs as Schoolboy
720p.BLU 1080p.BLU
695.57 MB
23.976 fps
1hr 22 min
P/S 0 / 2
1.23 GB
23.976 fps
1hr 22 min
P/S 0 / 3

Movie Reviews

Reviewed by expandafter 5 / 10

A warning to viewers

Don't allow the images of bombed areas of London to be used to brainwash you into believing the propaganda about W.W. II.

The German blitz against London was in retaliation for English attacks against German cities.

In July 1940, Churchill ordered Bomber Command to start devastating Berlin as soon as feasible, even though Germany had bombed no English cities.

It was the English, not the Germans, who had heavy bombers that were designed for flattening cities. The Germans had only medium and smaller bombers.

It was the war-mongering English whose policy it was to start wars in Europe in order to weaken any country that could rival their power.

It was the bullies, war-mongers, and war-criminals known as the English, not the Germans, who bragged that they "ruled the waves". It was the English who bragged that the sun never set on their empire. It was the English who were lording it over the people of Ireland before and during W.W. I. It was the English who maintained a blockade of Germany for seven months after W.W. I ended, causing the death by starvation of hundreds of thousands of people. It was the English who were lording it over the people of India before and during W.W. II. It was the English who started W.W. II by declaring war on Germany. It was the English who were the first to commit the war crime of carpet-bombing cities.

Reviewed by Leofwine_draca 6 / 10

Fun adventure with period charm

HUE AND CRY is the first of the classic comedies made by Ealing Studios although the comedy is in short supply here as this becomes more of a juvenile detective/adventure story involving a group of kids thwarting a gang of crooks who plan their next jobs using a serialised story in a comic. It sounds far-fetched and it is, but at the same time it's a lot of riotous fun.

Overall, HUE AND CRY feels much like one of the classic Enid Blyton detective stories, except done with a harder edge. Indeed, there's quite a bit of action here in the form of fisticuffs and chase scenes and it's quite hard-hitting despite the protagonists being kids. The plot is fast-paced and engaging and the film evokes a wonderful sense of place as we see the kids playing in the post-war bombed out ruins that littered British cities during the era. As ever, Alastair Sim contributes a memorable supporting role.

Reviewed by l_rawjalaurence 8 / 10

Classic Comedy That Makes Some Trenchant Points About Post-1945 Britain

HUE AND CRY tells a straightforward tale of how the Blood and Thunder Boys, a gang of teenagers led by Joe Kirby (Harry Fowler) foils a plot to smuggle illegal furs led by his boss Nightingale (Jack Warner, cast engagingly against type as a villain). On the way Kirby encounters a variety of lowlife characters including good- time girl Rhona (Valerie White), crooked shop-owner Jago (Paul Demel) and a spiv (Joey Carr). Yet Joe emerges triumphant, not least because he is assisted by a large gang of youngsters, including Scot Alec (Douglas Barr) and Rhona's work-colleague Norman (Ian Dawson). The film contains a memorable cameo from Alastair Sim as Felix H. Wilkinson, a scatterbrained writer of lurid popular fiction who tries to charm Joe with a glass of ginger pop but is eventually blackmailed by the teenager into helping solve the crime.

Perhaps the film's greatest asset, however, is the way in which director Charles Crichton uses the locations of war-torn London to tell his story. The Blood and Thunder boys have their hideout in a bombed-out building, full of secret corners and ruined beams for them to play in. As they pursue Rhona along the London streets, we understand how shabby the city looked at the time of filming, with very few commodities for sale in the shops. The city was also highly socially stratified, with stark contrasts between the poky terraced houses where Joe's family live and the expansively appointed detached houses in the suburbs (most of which received comparatively little damage during the Blitz). On the other hand London was much quieter at that time; very few cars adorned the streets, and horse-drawn carts were still very much in evidence, used mostly by tradespeople.

Despite its basic good humor, HUE AND CRY offers a radical vision for post-war Britain. It suggests that the old social order, where children should be seen and not heard, has collapsed; anyone can now achieve their aims, so long as they are prepared to fight for them. Director Crichton also suggests that postwar London is also a center of petty crime; a combination of stringent rationing and lack of availability of fancy goods provided a rich hunting-ground for black marketeers such as Nightingale. Yet perhaps people had a right to expect something more - after all, they had just spend six long years fighting for their freedom. Crichton offers the possibility of a solution by showing the children triumphing - perhaps youth will help to usher in a brave new world of prosperity.

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