JohnHowardReid Director: BERNARD VORHAUS. Screenplay: H. Fowler Mear, John Soutar. Based on an original screen story by J. Jefferson Farjeon. Photography: William Luff, Percy Strong. Supervising film editor: Jack Harris. Film editor: Lister Laurance. Art director: James A. Carter. Hair styles: Charles. Music director: W.L. Trytel. Production supervisor: John Brahm. Assistant director: James Davidson. Sound recording: Baynham Honri, Leo Wilkins. Visafone Sound System. Producer: Julius Hagen. Filmed with the full and courteous co-operation of the Great Western Railway. Cars supplied through the courtesy of Messsrs A.C. (Acedes) Cars, Ltd. A Twickenham Film Studios Production, released in the U.K. through Twickenham Film Distributors: October 1935. U.S. release through Olympic Pictures. Not copyrighted in the U.S.A. Not theatrically released in Australia. 66 minutes. SYNOPSIS: The driver of an express train suffers a breakdown. COMMENT: A definite must-see for railway buffs (in fact it would easily figure on the top ten), thanks to the wholehearted co-operation of the Great Western Railway which has produced some absolutely staggering scenes and effects. Aside from a bit of obvious under-cranking right at the very beginning of the movie, technical credits are extremely proficient. Direction and camerawork strike even a casual viewer as especially skillful. The script is serviceable enough too, though some of the players, particularly Julien Mitchell as the mad engineer, are inclined to over-do things a little. Olga Lindo also seems a bit of a pain as the overly sympathetic wife, but that's the fault of the script. Judy Gunn makes a pleasant heroine, and it's nice to see Eve Gray laying on the charm as a confidence girl.

trimmerb1234 This, had Hitch directed it, would have been considered one of his lesser efforts yet it has many of the elements and one of the stars, (Godfrey Tearle) of his "39 Steps" and lacks nothing in pace or sly humour. Hugh Williams was very much in the Robert Donat mould, albeit a national rather than international star.www.britishpictures.com warns against the easy dismissal of British films post 1927 as "quota quickies" arguing that "The big budget Things To Come, for example, can't be regarded as a quota-quickie yet producer Alexander Korda came to Britain because of the protection the quota offered." while fully accepting that there were dreadful low budget efforts which came into being because of the quota.This is all round, not less than a middle-ranking film in terms of stars,ambition, writing, direction and budget. Reminiscent of silent car/train chase films this steams along at a rattling pace but manages to amuse with the semi-comic conman and woman who get caught up in the plot.Thoroughly entertaining but lacking the brilliance of the Master.

John Howard Reid A definite must for railway buffs (in fact it would easily figure on the top ten), thanks to the wholehearted co-operation of the Great Western Railway which has produced some absolutely staggering scenes and effects. Aside from a bit of obvious under cranking right at the very beginning of the movie, technical credits are extremely proficient. Direction and camera-work strike even a casual viewer as especially skillful. The script is serviceable enough too, though some of the players, particularly Julien Mitchell as the mad engineer, are inclined to over-do things a little. Olga Lindo is also a bit of a pain as the overly sympathetic wife, but that's the fault of the script. Judy Gunn makes a pleasant heroine, and it's nice to see Eve Gray laying on the charm as a confidence girl.

Mozjoukine Despite the decades of subsidised film study in Britain, little is known about their pre-Korda years. Critics and thesis writers have been inhibited by the lack of plagiarisable material and the awfulness of much of what was about.The neglect of Maurice Elvey's films is the most obvious result but here is a modest English program entertainment which reverses expectations. Script and performance are less than imposing as passengers with problems accumulate but the energy is startling in the staging of the story of the demented engine driver taking the Mulchester (!) local round the curves at lethal speed, filmed air to rail, road to rail and rail to rail as the racing car, plane and goods trains run level with the speeding passenger local, in the best silent serial traditions.Rail freaks will be delighted by the documentary like coverage of procedures and equipment.Director Vorhaus developed a following when David Lean named him as mentor but most of his output is mediocre or worse. This one suggests Lean may have known something we don't.