It Always Rains on Sunday

<p>Robert Hamer’s ‘Dark Ealing’<i> It Always Rains on Sunday</i> (1947) is a claustrophobic domestic melodrama, combining elements of film noir and gritty realism, in the story of a frustrated housewife, Rose Sandigate (Googie Withers), who rekindles a former love affair with an escaped convict, Tommy Swann (John McCallum). Praised by critics upon its release, the film came during a time when Britain had barely begun to recover from World War II and depicted an East End of bombsites, rationing and uneasy gender relations.<br><br>Lynda Nead’s insightful study argues that Hamer’s film captures the mood and experience of post-war Britain in a uniquely visceral style. Examining its intensely dramatic evocation of London’s East End, with its crowded terraced homes, constant rain and bleak cold, she unpacks the factors that contribute to the film’s atmosphere and the moment of its makin its detailed composition of exteriors and interiors; its representation of women and female desire; and its depiction of men, the husbands, spivs and criminals of this tale of East End streets.</p>