Production
Screenwriter Clarke is said to have come up with the idea of a clerk robbing his own bank while doing research for the film Pool of London (1951), a crime thriller surrounding a jewel theft. He consulted the Bank of England on the project and it set up a special committee to advise on how best the robbery could take place.
Extensive location filming was made in both London and Paris. The scenes show a London still marked by bomb sites from the Second World War.
- London, England, UK
- Bank Underground Station
- Bank of England, Threadneedle Street
- Bramley Arms Pub, Bramley Road, Notting Hill (finale: end of the chase)
- Cheapside
- Carlton Road, Ealing (zebra crossing on way to police exhibition)
- Gunnersbury Park (police exhibition)
- Queen Victoria Street, Blackfriars (scene of bullion robbery)
- RAF Northolt, Ruislip (airport)
- Paris, France
- River Seine
- Eiffel Tower
In the car chase scene at the end of the film, an officer uses a police box to report seeing a police car being driven by a man in a top hat. In fact, the driver is wearing the uniform of the police as originally set up in 1829 by Sir Robert Peel, known as "Bobbies" or "Peelers."
The scene where Holland and Pendlebury run down the Eiffel Tower steps and become increasingly dizzy and erratic, as does the camera work, presages James Stewart's condition in Alfred Hitchcock's Vertigo, made seven years later.
Read more about this topic: The Lavender Hill Mob
Famous quotes containing the word production:
“The heart of man ever finds a constant succession of passions, so that the destroying and pulling down of one proves generally to be nothing else but the production and the setting up of another.”
—François, Duc De La Rochefoucauld (1613–1680)
“The problem of culture is seldom grasped correctly. The goal of a culture is not the greatest possible happiness of a people, nor is it the unhindered development of all their talents; instead, culture shows itself in the correct proportion of these developments. Its aim points beyond earthly happiness: the production of great works is the aim of culture.”
—Friedrich Nietzsche (1844–1900)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)