Miracle in Soho
| Miracle in Soho | |
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| Directed by | Julian Amyes |
| Produced by | Emeric Pressburger, Sydney Streeter (associate) |
| Written by | Emeric Pressburger |
| Starring | John Gregson, Belinda Lee, Cyril Cusack |
| Music by | Brian Easdale |
| Cinematography | Christopher Challis |
| Edited by | Arthur Stevens |
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| Distributed by | J. Arthur Rank Film Distributors |
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Running time
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93 minutes |
| Country | United Kingdom |
| Language | English |
Miracle in Soho is a 1957 British drama film directed by Julian Amyes and starring John Gregson, Belinda Lee and Cyril Cusack. The film depicts the lives of the inhabitants of a small street in Soho and the romance between a local road-builder and the daughter of Italian immigrants.
The film had its premiere on 11 July 1957 at the Odeon Leicester Square, preceded by the British Film Academy awards.
Michael Morgan (John Gregson) is a labourer working with a gang, mending a road in Soho, when he meets Julia Gozzi (Belinda Lee), an Italian barmaid, and they begin an affair. But When Michael's job in Soho is finished, the affair is over, so Julia visits a local church and prays for him to come back. A miracle occurs when a burst water main brings the return of the road gang.
In a contemporary review, What's On in London called the film a "sentimental little fairy story...Peter Illing, as Papa, brings this coloured celluloid confection to life every time he comes on the screen, and Cyril Cusack, as the Salvationist postman, is very good, too. Of course, this is isn't really Soho at all, but I don't suppose that's going to worry anyone except a few fussy Sohoians"; while more recently, the Radio Times wrote, "Pressburger's script aims for the sort of semi-documentary tone that had become fashionable at the time, but this romance...needed a little local colour to buck it up, not grey sociological pronouncements. Christopher Challis's grim images of Soho have a certain historical value, but, amid a plethora of dodgy accents, neither John Gregson nor Belinda Lee even comes close to convincing"; and ithankyouarthur wrote, "With far grittier kitchen sinks just around the corner, the film looks back rather than forward but still has a cosy charm all of its own and the magic realist tone you would expect from its author and producer."
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Wikipedia