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So much average

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Bad boy Peter Reynolds has a back story - would be getaway driver who panics and leaves his companions to be caught bang to rights outside the bank. Unusually this important bit of action with which the film starts never comes back to bite him nor play any further part. He instead swans off to Devon to cadge lodgings from his rather estranged bachelor shotgun-toting uncle who though surly nevertheless does the decent thing.Something Reynolds does not reciprocate, casually thieving from all who put any trust in him. An unexpected visitor in form of an attractive young woman (Elizabeth Sellars) arrives who he mistreats, giving great offence to his uncle. The bad boy departs the scene, leaving just the young woman remaining with the uncle. Later another unexpected visitor, an older woman arrives and joins the two. The situation, for good reasons, is exceedingly uncomfortable indeed impossible for all three.Beautifully shot on location, it is a pleasure to watch. The story is perhaps old-fashioned, resembling in outline at least a Victorian novel particularly the stiff-upper lipped decent rather taciturn uncle. But it is 1950 and rural rather than city ways so is believable. However modern viewers evidently find the moral dilemmas tiresome and the lack of violent action (spoiler alert - the shotgun is neither fired nor even brandished) in consequence boring. But if you see through the eyes of the participants, it is quite gripping at times and end completely believable.

GUILT IS MY SHADOW is a low rent British crime drama that fails thanks to the writing, in particular the character of Jamie played by Peter Reynolds. Jamie is the film's protagonist and gets way too much screen time considering that his obnoxious character is one of the most annoying ever; the viewer has to sit through scenes and scenes of him treating everybody like dirt, while the warm and sympathetic characters as played by Patrick Holt and Elizabeth Sellars don't get as much of a look in.The story's rural setting (it was filmed in Devon) is an interesting one. Jamie is a getaway driver who escapes the heat to live at his uncle's place, but he's soon getting involved in petty crime. The arrival of his wife complicates things. This is quite a slow paced story but it does pick up with a murderous twist later on. The acting is generally of a strong standard and there are bit parts for Esma Cannon and Desmond Llewelyn. A pity that the ending is prohibited by the usual moral constraints of the era as it ends on a very downbeat and depressing note.

I'm prejudiced in favour of GIMS because a lot of it was filmed in Devon c1950, just before I moved to the county, and I'm prone to nostalgia. I liked the scenes shot in Ashburton and the agricultural fair - very evocative of simpler - perhaps happier - times.Putting aside the Devon content, the film is a reasonable post-war low-budget film. Before seeing it, I hadn't been aware of Peter Reynolds, who came over as a type like David McCallum in his young tearabout roles. Elizabeth Sellars reminded me a little of Joan Collins, but nicer. And in a pub scene one can glimpse "Q" himself - Desmond Llewelyn. Apart from the token Devonshire accent, everyone seemed to speak every so nicely.Film industry conventions of the time demanded that people should pay for their crimes, whatever the provocation, and there were no great surprises at the end.The only jarring note was the scene in the foggy churchyard.GIMS was one of the best things I saw on TV over the Christmas-New Year period - which may not say much for everything else!Incidentally, there's a brief scene of a small train arriving at "Welford Station" - perhaps the branch line terminus at Ashburton. There was actually a Welford Park station on the Lambourn Valley Railway, north west of Newbury, that served the hamlet of Welford.

What started out as a typical police pursuit ended up as a Gothic nightmare with eerie dream sequences, obviously a homage to those "Gainsborough Gothic" style movies that were so popular in Britain after the war.Jamie is on the run from a robbery gone wrong, even in the first few seconds his cowardly nature is revealed as he takes off, leaving his partners in crime stranded on the bank steps, when he hears a police whistle. He quickly travels up north to visit his taciturn Uncle Kit (Patrick Holt) on his farm in a remote little community. From a few small scenes - disregarding a "Close the Gate" sign, mishandling a horse, big noting himself at the pub to pilfering the till at the garage where he has managed to find work because of his dexterity with cars - a picture is painted of a scheming lout who the audience has no sympathy for. Suddenly Linda appears, his wife he says and for once he is not lying but she is as pretty and decent as Jamie is sly and calculating.Once Elizabeth Sellars steps out of the car and is captivated by the wild, vast landscape, the focus of the film changes. She was a fresh, young film face whose ethereal look was used to advantage here and with scenes showing her compassion for an injured dog or a cow having a difficult birth, she fits right into the farming life. Linda's arrival doesn't phase Jamie who has just started seeing the local rich, bad girl Betty (Lana Morris started out in the 1940s with plenty of promise but spent the 1950s in Bs) and has already stolen funds to show her a good time. Linda finds him stealing money from Kit's safe and stands up to him - things get physical and Jamie is accidentally killed. The rest of the movie turns into a guilt ridden manifesto. Kit and Linda already have feelings for each other and together they try to wipe the crime from the face of the earth. Linda's guilty conscience arises in a series of dreams where she is running through the church-yard, falling into the abyss and standing against craggy rocks and there is a nightmarish, Gothic quality about them. Then Jamie's mother turns up...............Peter Reynolds who played the cowardly Jamie unfortunately died at 45 in a flat fire. He had moved to Sydney, Australia in the early 1970s and was a fixture of the small screen in shows like "Boney", "Division 4", "The Rovers", "Barrier Reef" and "Homicide".