In this article we are going to address the importance of Time Lock in everyday life, exploring its relevance in different aspects of our society. From its impact on the economy to its influence on popular culture, Time Lock plays a fundamental role in the way we interact with the world around us. Through detailed analysis, we will examine how Time Lock has evolved over time and how it continues to shape our actions and decisions in the present. Additionally, we will explore the future prospects of Time Lock and how its relevance might change in the future. This article aims to provide a broad and detailed overview of the importance of Time Lock, inviting readers to reflect on its impact on their own lives.
Time Lock | |
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Directed by | Gerald Thomas |
Written by | Peter Rogers |
Based on | Time Lock play by Arthur Hailey |
Produced by | Peter Rogers |
Starring | Robert Beatty Lee Patterson Betty McDowall Vincent Winter |
Cinematography | Peter Hennessy |
Edited by | John Trumper |
Distributed by | Distributors Corporation of America (US) |
Release date |
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Running time | 73 min. |
Country | United Kingdom |
Language | English |
Budget | £30,000[1][2] or £21,000[3] |
Time Lock is a 1957 British thriller film directed by Gerald Thomas and starring Vincent Winter, Lee Patterson and Betty McDowall.[4] It was written by Peter Rogers based on the play of the same title by Arthur Hailey. It features a young, pre-James Bond Sean Connery. The film follows the attempt to rescue a six-year-old boy who is accidentally locked in a bank vault.
Young Steven Walker, when accompanying his mother to a Toronto bank, accidentally gets locked in the bank's vault. With less than 10 hours of oxygen remaining in the vault, it becomes a race against time to save him.
Although set in Canada, the film was shot at Beaconsfield Studios in England (per film credits).
Rogers called the film "a little gem" and said it resulted in the Woolf brothers offering Thomas The Vicious Circle.[3]
The Monthly Film Bulletin wrote: "Arthur Hailey has written several plays for Canadian television; and this one has all the marks of having been intended for the small screen. It is mostly played on a single set; the one or two outdoor scenes add nothing to the general atmosphere. The claustrophobic tension would probably have been conveyed better if it had been confined within the four walls of the bank. As it is the film is rather slow and too long to sustain the excitement; though it is competently put together, with sound performances from all the principal players except Betty McDowall, who fails to convey the anguish of the child's mother, "[5]
Kine Weekly wrote: "The staging is naturally restricted, but the characters are kept moving and there is much human interest, as well as tension. A little gem of its type. ... The picture is not permitted great freedom of action, but sound acting and resourceful direction enable it to crowd a lot of drama and suspense into a litle space. Vincent Winter is inevitably kept in the dark, but nevertheless has his moments as the incarcerated Sieven, Robert Beatty, although a late arrival, does his stuff as the forthright Dawson and Betty MeDowall, Lee Patterson and Alan Gifford register as Lucille, Colin and Foster. Dialogue is reduced fo a minimum, while the climax will have audiences on the edge of their seas."[6]
Variety wrote: "Modestly designed as a supporting feature, Time Lock measures up well against more ambitious productions and will hold average audiences. ... Acting is crisp and competent with the use of several Canadian thespians now working in Britain insures maximum authenticity. There are standout performances by Robert Beatty, as the tough vault expert; Alan Gifford, as the distraught bank manager; Lee Patterson and Betty McDowall, as the helpless parents ... and Vincent Winter, as the kid who causes all the trouble."[7]
In British Sound Films: The Studio Years 1928–1959 David Quinlan rated the film as "good", writing: "Taut, economical thriller."[8]