![]() ![]() ![]() It lends the film a very comic-book-ish sort of feel, which is apt given the comic strip is the leading Maguffin of the whole piece and when put to the backdrop of a bombed-out metropolitan area adds even further to the overall subversion that the film portrays. Some of the kids spend so much time fighting that they may as well be a dust cloud with legs and arms poking out of it. ![]() There’s a sense that there’s a lot of local pride for Ealing and its surrounding areas, the reverence for its streets and community spirit permeates through the gang’s knowledge of their town and extremely rough-and-tumble relationships. Post-war London in Hue and Cry is an odd and fascinating world of juxtaposition all the children wear suits and have jobs, reconstruction and modernity sits beside the ruins of the old city, crime is rampant and yet hardly seen, it’s a world that doesn’t belong to the Empire any more. All the same, Hue and Cry (more so than The Magnet which also came out as part of this restored project) has a reputation to deliver upon as the first Ealing Comedy, and as an example of showcasing developing British values in the wake of the worst global event of the 20 th century, it does a fine job, what what. Wait… wait, no that’s Robert Baratheon from ‘Game of Thrones’. The BFI restorations of classic Ealing comedies continues with Hue and Cry, or more technically starts with Hue and Cry as it is often dubbed The First of The Ealing Comedies, King of the Andals and The First Men, Lord of The Seven Kingdoms and Protector of the Realm. When the police don’t take them seriously, they decide to take matters into their own hands and uncover the truth behind the code, the crimes and the people responsible. In post-war London, a gang of kids stumble upon a code hidden in a comic book pertaining to a series of crimes across the city. ![]()
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