“Seven Days to Noon” is a tense thriller produced and directed by the Boulting Brothers in 1950, which won an Academy Award for best story at the Oscars.
It remains one of the best films made about London in the post-war years – before the developers got a chance to ruin the place with skyscrapers and inappropriate and out-of-scale development. Just watching this film to see how London used to be is a treat.
But back to the plot.
Professor Willingdon (Barry Jones) is a nuclear scientist working at a research centre – somewhere like Aldermaston, though called Wallingford in the film – on developing atomic bombs. The destructive power of weapons he’s worked on has been playing on his mind for a while. He cracks when a nuclear bomb that’s portable is produced.
Deciding that the world needs a sharp lesson, he steals one of the devices and sends a note to the Prime Minister (Ronald Adam – clearly suggested by Clement Attlee) stating that unless the British government publicly abandons its stockpiling of nuclear weapons, he will detonate the stolen weapon and destroy the centre of London in seven days’ time.
It soon becomes apparent that Willingdon has the weapon and Detective Superintendent Folland (Andre Morell) of Special Branch is tasked with capturing the errant scientist and recovering the device before the rapidly approaching deadline.
The film tells the story of the chase from both points of view. We see Folland aided by Willingdon’s deputy Steve Lane (Hugh Cross) and the scientist’s daughter Ann (Sheila Manahan) in pursuit.
But more tellingly we see the story from the point of view of Willingdon himself as he disappears into the mass of people who live in London, blending in with the crowds, seeking accommodation in still gaslit boarding houses. The accuracy of the portrayal of working people is superbly done.
Here we see not the patronising caricatures of working folk as portrayed by some film-makers of the period, but real folk, terrifically acted by the players concerned, who seem to have come in from the streets of a very real London – then as now going through a sustained period of austerity.
One of the many joys of the piece is a faded music-hall star Goldie Phillips (played beautifully by Olive Sloane, an actress fascinating in herself – she’d played small parts in films from the silent days of the 1920s. This was her one big lead and she is terrific!)
Goldie takes in Professor Willingdon, unaware until too late of who he is. As London is evacuated he decides to hide out in her bedsit until the fateful Noon comes nearer.
As he hides out, London is evacuated. There are near documentary scenes of thousands of people being loaded on to trains, lorries and buses. Traffic jams block the roads as cars flee the capital. Then the silent streets of an empty London.
The viewer can only admire the skill of the director and producers in making a film on the real streets of London that portray so dramatically such matters. I doubt you could stop the traffic long enough to do it today. The People of London get a credit as the titles roll for their part in making the film.
Gradually the dragnet closes in on Willingdon as soldiers and the police search the streets from the suburbs to the heart of the city. And…
But I’ll stop there, for this is a film that you’ll certainly enjoy watching all the way through. Gripping stuff!
Few films of the 1950s capture the atmosphere of post-war London quite so well. Made at a time when many producers were looking backwards in time with war stories and even further back, “Seven Days to Noon” captures aspects of British society too often overlooked.
And it has at its heart the question of the morality of producing weapons of mass destruction. Is Willingdon actually mad, or is he sane and ahead of his time? The authorities who are trying to thwart his plans seem to hold the moral high ground, but do they?
“Seven Days to Noon” is a neglected masterpiece of film-making, with good strong characterisation and tense and vivid direction.
It deserves to be better known.