Obsession (aka The Hidden Room) (1949)

Dr. Clive Riordan (Robert Newton) takes a cab from his club to home. He is dropped off outside 16 Church Row, Hampstead, London NW3……..

A daytime view looking west provides the tower of St. John-at-Hampstead. SJ

……..and starts to walk, outside 17 Church Row, once the home of H.G. Wells, he stops to look across the road.

Even the door has the same style. SJ

He takes a step into the roadway to see terrace 10 to 8 Church Row.

The window arrangement is a fine match. SJ

Crossing the road Dr. Riordan hesitates to knock on the door of No 9, then rings the bell, his butler, Aitkin (James Harcourt), opens the door to let him in.

No. 9 today. SJ

Before the end of the night his wife Storm (Sally Gray) returns with her current boyfriend, Bill Kronin (Phil Brown). Confronting them, Riordan eventually leaves the house with Bill at gunpoint.

Church Row in daylight. SJ

Concern grows as Bill ‘goes missing’ and becomes the subject of international enquiry. Riordan leaves his Practice premises. 4 Culcross Street, W1. London Metropolitan Archives, Collage Record No: 130250 and Ray Glenister came up with the same conclusion and the same supporting evidence.

When JT uploaded the capture back in 2006, access to Culross Street was denied as it was at the rear of the American Embassy. After a wait of 16 years with the comparison of my "to do list", we are finally there. SJ

He turns to enter Blackburne’s Mews. Ray and Ron Glenister placed this as the Corner of Culross Street and Blackburne's Mews.

Looking north on Blackburne's Mews. SJ

Then crosses to access his lockup garage……… ‘what3words’ - move.digit.bucked looking north towards Upper Brook Street. Established by Ray and Ron Glenister.

The building line has been set further back.

…..walks through it and into the ruins and eventually, to the hidden room where he is keeping Bill. All of the capture was later to be built on as the American Embassy. The background white building to the right is now the vacant space to the left of 4 Blackburne’s Mews.

A policeman patrols Blackburne’s Mews whilst, nearby, Bill shouts for help, unheard. Eastern side looking towards Upper Brook Street.

Significant rebuilding has taken place.

Riordan bids his receptionist Miss Stevens (Betty Cooper) “goodnight” and leaves the Practice premises. 4 Culcross Street, W1.

A close-up of 4 Culross Street. SJ

Shortly after he leaves, Storm arrives by taxi. Culross Street looking west.

The gates, heavily guarded by US Marines, barring access, stood at the end of Culross Street with Park Street and the north and south ends of Blackburne's Mews from about 2003 to 2019. SJ

She exits the taxi with Monty, her dog, to enter 4 Culcross Street, W1.

A vehicle was conveniently parked, albeit pointing the wrong way.

But Monty runs off to the lockup. ‘what3words’ - move.digit.bucked Blackburne's Mews.

Still doors, but they are further back from the capture building line.

As Storm calls for him to come back, Riordan, who hears Storm, is on his way to provide Bill with further provisions where he is being kept. Once again what would later become the American Embassy.

Monty does not give up and follows Riordan’s path while Storm lingers on a ledge to continue calling him. Looking across to the side of 1a Culross Street in Blackburne’s Mews.

Storm races back to the Practice just as Miss Stevens is leaving and asks her if she has seen Monty and whether her husband is still working. 4 Culcross Street, W1.

No stand-ins were available to enhance my shot.

After a surprise visit by Supt. Finsbury (Naunton Wayne) Riordan visits his garage to see a light on and the Supt. looking at a model train engine, and with another question or two. ‘what3words’ - move.digit.bucked Blackburne's Mews.

The correct location but somewhat changed.

After a while a police car arrives to collect the Supt. Looking across to the properties on the opposite side of Blackburne’s Mews.

With so little of the opposite wall visible in the screen shot and being totally rebuilt it can only be an estimation of the same location now.

After a visit to Riordan’s home to return his gun Supt. Finsbury decides to walk home. Church Row Hampstead, NW3.

No. 11 juts out, while nos. 10 and 12 are recessed. SJ

He crosses Grosvenor Square, W1 with the Roosevelt Memorial statute center capture.

Now. Grosvenor Square, by Russell Groves, thanks Russ.

In fact he stops to appreciate it. Roosevelt Memorial statute, Grosvenor Square.

Now. And again, from Russell.

As he walks on, he hears an American sailor (Michael Balfour), far left, talking to colleagues. Grosvenor Square, London W1.

Now. And again. Well snapped Russ.

Further into what the sailor was saying a line of thought comes into his mind. 15, 14 and 13 Grosvenor Square in the background, now all rebuilt.

This should be roughly the same angle. There has been rebuilding in the same style. And the hole in the square (as seen in above "thens") has been filled as well. SJ

Prompted by a conversation with Storm, Supt. Finsbury puts out a broadcast to find Riordan’s car. A policeman (Stanley Baker) on patrol in Blackburne’s Mews is about to approach the garage where it is kept. The properties in Upper Grosvenor Street can be seen in the background.

At least the Upper Grosvenor Street properties remain to secure the scene.

Having established the car he hastily makes his way to telephone the information. Supposedly Blackburne’s Mews but I cannot place this. Unidentified location, and I am erring on the side of a studio set.

The policeman sees a police car coming towards him. Blackburne’s Mews looking towards Upper Grosvenor Street with Nos 27a and 27b still standing before being demolished in favour of the American Embassy.

The American Embassy is now 'The Chancery' hotel and this the functional rear.

Supt. Finsbury arrives. Blackburne’s Mews looking towards Upper Brook Street.

There was no bicycle in the screen capture.

Having had to unexpectedly return to his Practice, he sees the police breaking into his garage as he leaves. No 2 Culross Street in the background.

A pity that the doorway has been boarded up for some reason.