Director: Godfrey Grayson
Release Date: June 1953
The Tate Gallery Minutes of the Board, Vol. VII, 17 January 1952 note, under Item X, the ‘Request from Pax Films to Make a Film with the Gallery as a Background. The director [of the Tate Gallery, John Rothenstein] explained that some years ago, he had suggested the idea of using the Tate Gallery as a background for a film story, and his suggestion had recently been taken up by a film company who had asked permission for facilities to make certain sequences within the Gallery. The film company wished to operate largely in those parts of the Gallery to which members of the public do not normally have access, and they had agreed that any work done in the exhibition rooms would be carried out outside the public opening hours, to avoid inconvenience to visitors. The Board agreed to grant these facilities to Pax films, and to the Director’s suggestion that the script should be forwarded to the Treasury solicitor for his approval before the film was made.’ The Kinematograph Weekly, 6 November 1952, noted that the film goes into production on Monday [10 November] adding that ‘this the first itme permission and facilities have been granted to a film company to make a feature picture in the [Tate] gallery.’ On 7 December 1952 Denis Myers reported in The People that the ‘American Censorship Office – that guardian of moral standards’ had warned the filmmakers ‘that no glimpse of a nude figure – painting or sculpture – must appear on the screen.’ Myers asks ‘where such masterpieces as Rodin’s “The Kiss” are exhibited, [what’s the film director] to do? Drape the figures in muslin? Substitute some chaste all-American statues of, say, Abraham Lincoln or Eisenhower?’
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It's unclear exactly where the film begins but Port of London Authority steam locomotive No. 82 was assigned to the Royal Docks. A painting en route to the Tate Gallery, being unloaded from the 'Moreton Bay', is stolen from the dock as Denis O'Keefe, an insurance agent, looks on. There appears to be no record of the arrival or departure of the 'Moreton Bay.'
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O'Keefe arriving at the Tate Gallery as, from left, Guy Middleton, Hugh Williams and Gerald Case look on. The first of numerous scenes shot inside the Tate Gallery.
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The following day affords a shot of the Tate Gallery viewed from Millbank.
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O'Keefe's investigation takes him to W.M. Sabin, a real concern, at 17 Duke Street, St. James's. It's difficult to see but between the shop and the Chequers pub is an opening leading to Mason's Yard.
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The view south along Millbank, showing Vauxhall Bridge, as O'Keefe approaches the Tate Gallery.
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As O'Keefe crosses Millbank the busses are exiting Atterbury Street with the Royal Army Medical Corps college and barracks to the left.
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Millbank and the Tate Gallery.
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In the forecourt to the Take Gallery O'Keefe speaks with pavement artist Eliot Makeham.
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A criminal, looking for O'Keefe, waits outside 29 Cheyne Row, Chelsea.
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Fellow criminals arrive in Cheyne Row, with Upper Cheyne Row running left to right and the view into Glebe Place.
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O'Keefe stepping away from 30 Upper Cheyne Row at the corner with Glebe Place.
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With Glebe Place to the right O'Keefe is followed into Upper Cheyne Row.
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O'Keefe in Lawrence Street with Upper Cheyne Row behind him.
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Uncertain. Is O'Keefe stepping down from Southwark or Blackfriars Bridge, on the south side?
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More of the same and still uncertain.
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Yet more of the same and still uncertain.
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O'Keefe is attacked, presumably beneath a bridge, along with what appears to be the view to the west.
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Uncertain. This appears to be the view from an unnamed passageway at the east end of Southwark Catheral as Makeham approaches. The steps are presumably down from Borough High Street.
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Despite looking a bit like a set I think these are the steps down from Borough High Street and the passing bus, a 35 heading to Leyton, rings true for this location.
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More of the same as the police arrive.
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Unidentified. Williams driving up to his home.