Most crits of The Blue Lamp take the view that it shows the good old British copper as the embodiment of all society's virtues: honest, loyal, and imposing a firm but fair discipline. The major threat to social order comes from undisciplined youth. When order is disrupted, all social elements join forces to enforce discipline and restore order.
I believe a closer look at the film reveals something rather more disturbing. I actually find George Dixon a rather unattractive character! He isn't above using strong-arm tactics on a prisoner (Alf Lewis) and tells Andy Mitchell to finish his tea before rushing to investigate a case of wife-beating ("'E don't kill 'is missus off that quick!"). He is also sarcastic to his colleagues: when a member of the police choir complains about having a frog in his throat, Dixon says sourly he should let the frog do the singing.
More seriously, Dixon fails to appreciate what the modern police are up against. When another officer is coshed during a jewel robbery young Andy Mitchell is rightly concerned, seeing it as an escalation in violence towards the police. Dixon waves the incident aside, the officer "has a good hard head" so no harm was done.
As a result, when faced with Tom Riley wielding a pistol, Dixon thinks traditional respect for police officers and his personal air of authority will win through. The look on his face after being shot isn't pain, it's stunned disbelief.
For me, The Blue Lamp stands as a warning about the turmoil lurking beneath an apparently placid, orderly society and the methods that will be needed to keep things under control. The old ways are no longer enough.
I believe a closer look at the film reveals something rather more disturbing. I actually find George Dixon a rather unattractive character! He isn't above using strong-arm tactics on a prisoner (Alf Lewis) and tells Andy Mitchell to finish his tea before rushing to investigate a case of wife-beating ("'E don't kill 'is missus off that quick!"). He is also sarcastic to his colleagues: when a member of the police choir complains about having a frog in his throat, Dixon says sourly he should let the frog do the singing.
More seriously, Dixon fails to appreciate what the modern police are up against. When another officer is coshed during a jewel robbery young Andy Mitchell is rightly concerned, seeing it as an escalation in violence towards the police. Dixon waves the incident aside, the officer "has a good hard head" so no harm was done.
As a result, when faced with Tom Riley wielding a pistol, Dixon thinks traditional respect for police officers and his personal air of authority will win through. The look on his face after being shot isn't pain, it's stunned disbelief.
For me, The Blue Lamp stands as a warning about the turmoil lurking beneath an apparently placid, orderly society and the methods that will be needed to keep things under control. The old ways are no longer enough.