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1956 British film directed by Guy Green From Wikipedia, the free encyclopedia
Lost (also called Tears for Simon) is a 1956 British thriller film directed by Guy Green and starring David Farrar, David Knight and Julia Arnall.[1] It is set in 1950s London, and revolves around the apparent kidnapping of a young couple's baby.[2]
| Lost | |
|---|---|
A poster bearing the film's alternative title: Tears for Simon | |
| Directed by | Guy Green |
| Written by | Janet Green |
| Produced by | Vivian Cox |
| Starring | |
| Cinematography | Harry Waxman |
| Edited by | Anne V. Coates |
| Music by | Benjamin Frankel |
| Distributed by | |
Release date |
|
Running time | 89 minutes |
| Country | United Kingdom |
| Language | English |
US embassy employee Lee Cochrane and his Austrian wife discover their 18-month-old son Simon has been abducted, after their nanny leaves the child unattended outside a chemist's shop. London Detective Inspector Craig pledges to find the child, though clues are thin on the ground.
Allmovie wrote, "This nail-biting film is filled to capacity with many of Britain's top supporting players, including Thora Hird, Everley Gregg, Joan Sims, Shirley Anne Field, Joan Hickson, Dandy Nichols, Mona Washbourne, Barbara Windsor and George Woodbridge";[3] and the Radio Times wrote, "this film succeeds because it confronts every parent's nightmare: what happens when you suddenly look away and find your child is missing when you look back? Of course, this being a class-riddled Rank picture, it's the nanny who loses the baby, but it's pretty harrowing nonetheless, despite the casting of insipid David Knight and Julia Arnall as baby Simon's parents. Granite-faced cop David Farrar is on hand to bring grit to screenwriter Janet Green's earnest chase movie, and not-so-hidden among the red herrings are a welter of British character players, with particularly impressive work from Thora Hird. The little-known Anna Turner also gives a fine performance as the tormented baby-snatcher, and Harry Waxman's colour location photography is superb, but the cliff-top climax is a little hard to believe."[4]
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