Watch An Inspector Calls For Free

Too much of everything

Just perfect...

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

I'd not seen any other version of this J B Priestly play and its reputation preceded it, for me. I'd seen on TV Alistair Sim in classic war-time films such as Green For Danger, a few Ealing comedies and Christmas favourites, such as Scrooge.His measured and clipped tones always steal the scene, in both the above and 'An Inspector...', the way his gaze is locked onto the eyes of his subject and is thus always enthralling. Not ever having known it to be on TV, at least recently, I bought this lovely, BFI release, in its trademark distinctive packaging, that always stamps an air of superior approval over other editions. The transfer is very good, with good blacks and clean whites and with good, undistorted sound.These days, it may seem all a bit Agatha Christie 'whodunnit' but there's far more to it than that. Not only Sim, quietly and cleverly quizzing the family, but social comment on the 1912 in which it is set and the various members of a factory-owning, exploiting upper classes, that goes far beyond mere history books or documentaries. In between the layers of the story are all types of characters that we all know must have existed but in the interests of social whitewash, were quietened, to the point of extinction.The acting is superb throughout and the script intelligent enough to keep everyone, of all ages and types, intrigued and entertained. Guy Hamilton's direction is without flair, which might have made it gimmicky but is far enough removed from a theatrical setting to ensure no-one can argue that it's just a filmed play.Critics argue that the play originally had far more impact - who can argue with that?I was disappointed that An Inspector is not available in the Alistair Sim Collection, or other boxed set, as this version on its own, can be expensive, though secondhand, like mine, can be affordable.

Despite appearances, "An Inspector Calls" is not a traditional "whodunit" by any means. It's a strange, enigmatic, socially-conscious mystery, and if you're expecting solid answers, forget it. And it's not exclusively an "Alastair Sim" movie, either; although his presence does dominate the proceedings, most of the rest of the cast is excellent as well, particularly the two younger women, Eileen Moore and Jane Wenham, who are both elegant, beautiful, intelligent, sensitive. It's because of them that this mystery sometimes transforms into a quite moving drama. And the final scene, although open to the viewer's interpretation, is guaranteed to give you a chill! *** out of 4.

A toff English family dinner is interrupted by the appearance of Inspector Poole, he announces that a young lady has committed suicide by the ingestion of disinfectant. At first the family is oblivious as to why this concerns them, but as Poole interviews each family member, it's apparent that one thing binds them all to the mystery.Adapted from the J.B. Priestley stage play, An Inspector Calls is everything that was great about 50s British Cinema. Simple in structure it may be, but the lack of clogging in any form shines brighter than many a lavish production from this particular decade. The films cause is helped immensely by the quality of the writing, Desmond Davis adding further quality to the already great source provided by the talented Priestley. At first the film leads you to believe that it's going to be a one room interrogation piece, but thru a series of flash backs we are taken out of the room to follow this intriguing story to its quite brilliant finale. There are no histrionics from the actors in this piece, all of them are wonderful because they adhere to the necessity of letting the story be the star. Alastair Sim is perfectly cast as Inspector Poole, a large presence with those highly sympathetic eyes, Sim may be playing the main character, yet he's playing second fiddle to the fleshing out of the Birling family deconstruction, it's a wonderful case where the acting glue is holding it all together.Director Guy Hamilton does a smashing job of making the film permanently edgy, a sense of unease is palpable throughout, and it's only during the final reel that the heart of the film shows its ace card, and even then, the makers have one more trick up their sleeves. Also worth mentioning is the editing from the sadly uncredited Geoffrey Botterill, so many films containing flash back sequences feel intrusive to the flow of a picture, it isn't here, it's spot on. An Inspector Calls is a wonderful mystery piece that is dotted with moments of unease, but all this would go to waste if the pay off was merely a damp squib, it thankfully isn't, and the likes of Rod Serling and Charles Beaumont were surely nodding in approval.Highly recommended 9/10.*Footnote:Alastair Sim is listed on this site as playing Inspector Goole, that is the characters name in the Priestley play, but i can assure everyone that his characters name is definitely Inspector Poole for this film version.

This was a nice surprise when I saw it in 1977 or so. Alistair Sim had appeared as Inspector Cockerill in GREEN FOR DANGER shortly after World War II, and gave one of his best performances as that droll Scotland Yarder, who just manages to bungle his successful investigation at the conclusion of that film. Here he finally repeated the role of an inspector of the police - Inspecter Goole, who disturbs a pleasant evening at the Birling mansion in some midland industrial town with news that there has been a tragedy involving the death of a young woman, and she seems to be connected to the family.J. B. Priestly was a highly successful novelist and dramatist of the middle years of the 20th Century. Besides AN INSPECTOR CALLS, he wrote LAST HOLIDAY and the novel (later a television series) LOST EMPIRES. He usually sets his stories (not LAST HOLIDAY) in the Edwardian period. That is the setting of LOST EMPIRES, which follows the London Music Halls in the years before and during World War I, and in this film, set in 1912. As it is set in 1912 it is like Terrance Rattigan's THE SLEEPING PRINCE (filmed as THE PRINCE AND THE SHOWGIRL) - a story whose plot line is complicated by the knowledge of the audience that history is headed in a disaster of war that will destroy the world of the characters.They are quite complacent these Birlings. The father is an industrialist, who has become Lord Mayor of the city. A bluff old codger, he thinks that most of the problems of the world can be covered over by a smile and some cash. His alcoholic son and his daughter and her fiancé seem less cynical, and his wife seems more proper. But each is forced to look at a photograph of the dead girl, shown by the Inspector and suddenly see their sins of pride, lust, cruelty all arising. But in the end when about to admit they did wrong they learn that the Inspector may not be what he said he was. But the conclusion leaves them facing the same crisis that Goole seemed to be on the edge of resolving - and Goole is no longer there to advise them on how to solve it.Sim, with minimal effort, controlled the film although he was off the screen most of the time. His Goole is a pleasant enough figure - apparently just doing his duty - and not being hard on the Birlings. He is just letting their consciences act out their feelings of contrition. But in the end the contrition (for the older Birlings) was too weak. So something stronger was needed to make them aware of their sins.