An interesting and watchable British feature which provides interesting insights into the wartime lifestyles and attitudes of the working class. John Mills is the soldier who goes AWOL during the Blitz to return home to check up on his pretty young wife Joy Shelton after his nosey sister sends him a letter accusing her of having an affair in his absence with Stewart Granger's spivvy draft-dodger.
That's about all the plot there is, apart from a little padding which sees Alastair Sim's G. P. act as the moral conscience of the film, subtly guiding Mills to his wife's whereabouts on the arm of the scheming Granger and even on how to defend himself in the anticipated fisticuffs with his rival.
There's also an encounter between Mills and a U. S. counterpart although significantly the Yank has only gone missing because he wants to see some fighting action, as if American soldiers never committed adultery, especially when in old Blighty!
It's interesting to witness the conflicting treatment of two able-bodied males of the time and almost see the film as part of a recruitment drive for the British forces whilst shaming shirkers like Granger's character. We see this in the way that Mills's character benefits from the pursuing military police almost looking the other way as he tries to sort out his domestic situation and are even given to believe that little Johnny can win a bare-knuckle fight with the much bigger Granger who we're told is a champion boxer.
The contemporary attitude towards women is also interesting to observe as we see Shelton's fading resistance to Granger's charms almost excused by not only the obvious device of his wining and dining her but more pertinently demonstrating some understanding of the sense of loneliness and physical and emotional needs of a young woman deprived of her husband's company for long periods of time.
Naturally it all ends up as it should with the married couple reconciled and the bounder getting a thick ear, but it was nevertheless interesting to view this less than rosy picture of marital life during the war.
Sydney Gilliat, this time without the aid of his long-time associate Frank Launder, wrote the screenplay and directed the action. Just over 70 minutes long, even then it feels slightly padded as Mills and his American army pal try to avoid detection, but nevertheless it doesn't gild the lily in painting its true to life family portrait. There's one particularly fine shot early in the film when Sim's character introduces the extended flashback as we see the present-day part-flattened Waterloo Road restored to completion to begin the story and the film elsewhere makes good use of actual physical locations.
Not the kind of feature normally associated with the Gainsborough studio but definitely a welcome change from its more usual overripe costume melodramas.
That's about all the plot there is, apart from a little padding which sees Alastair Sim's G. P. act as the moral conscience of the film, subtly guiding Mills to his wife's whereabouts on the arm of the scheming Granger and even on how to defend himself in the anticipated fisticuffs with his rival.
There's also an encounter between Mills and a U. S. counterpart although significantly the Yank has only gone missing because he wants to see some fighting action, as if American soldiers never committed adultery, especially when in old Blighty!
It's interesting to witness the conflicting treatment of two able-bodied males of the time and almost see the film as part of a recruitment drive for the British forces whilst shaming shirkers like Granger's character. We see this in the way that Mills's character benefits from the pursuing military police almost looking the other way as he tries to sort out his domestic situation and are even given to believe that little Johnny can win a bare-knuckle fight with the much bigger Granger who we're told is a champion boxer.
The contemporary attitude towards women is also interesting to observe as we see Shelton's fading resistance to Granger's charms almost excused by not only the obvious device of his wining and dining her but more pertinently demonstrating some understanding of the sense of loneliness and physical and emotional needs of a young woman deprived of her husband's company for long periods of time.
Naturally it all ends up as it should with the married couple reconciled and the bounder getting a thick ear, but it was nevertheless interesting to view this less than rosy picture of marital life during the war.
Sydney Gilliat, this time without the aid of his long-time associate Frank Launder, wrote the screenplay and directed the action. Just over 70 minutes long, even then it feels slightly padded as Mills and his American army pal try to avoid detection, but nevertheless it doesn't gild the lily in painting its true to life family portrait. There's one particularly fine shot early in the film when Sim's character introduces the extended flashback as we see the present-day part-flattened Waterloo Road restored to completion to begin the story and the film elsewhere makes good use of actual physical locations.
Not the kind of feature normally associated with the Gainsborough studio but definitely a welcome change from its more usual overripe costume melodramas.