No Way Back

Having had to give up boxing, 'Croucher' (Terenecy de Marney) has now lost his wife and with no money the camera sets the London scene with a shot of Piccadilly Circus looking up Regent Street.......

…..before panning skywards and to the right and settling with a view, itemised by Dave W, including the roof of 31-35 Fenchurch Street center foreground and the side face of 39 Lime Street foreground right. Center mid ground is the small dome of Leadenhall St/Bishopsgate and immediately to its right the imposing white building of Lloyds and its south-west corner. The single 'spire' in the right background is that of 18 Finsbury Square, then known as 'Triton Court' but now 'Alphabeta Building'.

…..then panning down with a blend to reveal a dejected and broken ‘Croucher‘ entering 'The Prince Albert', 83 Clark Street, E1 on the corner with Exmouth Street where he meets his old girlfriend Beryl (Eleanor Summerfield)

The character of the location has rather changed.

Beryl lives with Joe Sleat (Jack Raine) over 403 The Highway, London E1 and Croucher has been warned that Joe ‘is trouble’, particularly as he wants to see him in the morning. The passageway connected The Highway to Glamis Place but has now been built over. See EAW000636 - what3words- glare.zooms.crew

I am afraid that this shot of the spot as it is now will have to cover for all at this location.

The camera pans up to the room where Beryl and Joe are.

Despite their conversation doubting that Croucher would turn up, Joe looks out of the window to see him standing below. He has his back to the ruin of 401 The Highway.

Whilst in the pub Beryl overhears others saying how Croucher was no longer the man he was and how Sleat was making use of him, so she leaves. To make her way home Looking north up Exmouth Street towards the properties on Smithy Street now built over. The chimney of the Blue Anchor Brewery, Mile End Road can be seen in the background.

Exmouth Street no longer exists in any form.

Crossing The Highway. Looking east towards Free Trade Wharf. The posts and pillar box seen in Capture 4 are out of shot to the left.

A brief respite in what is generally the thunderous roar of traffic.

She opens the door and finds that Croucher is there with a present of a fur coat for her. She turns him away as a ‘has been’.

He walks the streets, he sees and hears children shouting. Unknown location.

As he approaches them, two of the them are boxing and the others cheering them on.

As an ex-boxer, he likes what he sees and feels obliged to help the underdog. Unknown location.

In time he re-unites with Beryl and ‘takes her to lunch’. Watney Market, Watney Street, E1. Brinsley Street off to the right, but it also now seems to be known as Spencer Way. The ‘Anchor and Hope’ at 57 Watney Street to the extreme right.

The van is parked in Brinsley Street/Spencer Way.

They progress down the street and Beryl apologises for her outburst. Included for historic reference, Brinsley Street going out of view and Sheridan Street (Now built on) appearing behind the lorry.

Somewhere in there was Sheridan Street.

A further shot of Watney Street for historic reference.

The street has the same name but nothing else would seem to have survived.

“Let’s go somewhere Johnny (Croucher)”. 52-46 Watney Street, E1 in the background. Watney Street also appears in 'To Sir, with Love'.

Of necessity a rather more general shot.

They cross the road to walk eastwards down Tarling Street, E1.

I would have preferred to have been two or three paces back to capture the side of the building on the left as per the capture, but an illegally parked car prevented that.

The following morning Croucher meets up with Beryl. King Edward Memorial Park looking west with the spire of St. Paul’s church visible through the mist.

Phil Evans did well to capture a much changed scene, assuring us that St. Paul's, Shadwell is still there, obscured by the greenery.

Then walk together, westwards along Tower Wharf.

The trees have gone but there's rather more clutter nowadays. SJ

A children’s playground in the background. Christopher Matheson has identified this as King Edward VII Memorial Park, Highway, E1. Following the path on the left it leads to The Highway opposite Brodlove Lane he says.

Another excellent shot from Phil Evans who, despite the years of growth and the ravages of time found the exact spot. The foreground railing have gone he says. He further comments, quite rightfully, that "This part of the park looks especially shabby compared to the new foreshore that's been added as part of the Thames Tideway Tunnel."

Making their way to St. Katharine Docks, a corner of which that has appeared in many films including 'The Stable Door' and 'The Gilded Cage'.

Taken at the same angle with the edge of The Tower Hotel incorporated. SJ

Then to a fair, very near to a brick wall. Unknown location.

They stand near Tower Pier, looking towards old London Bridge and talk.

Joe Sleat set up a robbery in which he shot a policeman and although not part of it Beryl and Johnny join him ‘on the run’. Dave W found Butcher Row, E14 which runs from the eastern end of Cable Street down to The Highway. The LCC block is Shipwright House, fronting The Highway. The two tall pillars, with tree, are the gated entrance to the grounds of former St James's Church.

The shape, size and general direction of Butcher Row has been changed somewhat but this is essentially an accurate comparison shot.

Running through an opening they find themselves in the disused graveyard of St. John of Wapping church in Scandrett Street. Oliver’s Wharf in the background. The cemetery/graveyard can also be seen in 'Fires Were Started'.

The building middle ground left in the capture was demolished years ago and the headstones are now placed around the perimeter wall of the cemetery/graveyard.

The police continue to give chase as the group head for the Scandrett Street exit. In the background is the St John of Wapping Charity School, now converted into apartments

And some new build has also been added.

Technically, they should be running west along Wapping High Street……

…..to Wapping Old Stairs beside the ‘Town of Ramsgate’ public house, also seen in 'Don't Open till Christmas'.

The tide has to be out for a comparison. SJ

When they reach the foreshore they run east towards Orient Wharf.

Panning right from the previous comparison. SJ

Having confounded the police they find a convenient fire escape. Unknown location.

But the police spot them. 28 Orde Hall Street, WC1

Having previously climbed a fire escape they are now able to exit a ground floor doorway. Dave W found them to be exiting 40 Great Ormond Street WC1. [2025 - there is considerable development taking place at the Hospital that prevents a suitable comparison shot for this or the following capture being taken at the present time.]

They are undecided as to which way to run. Great Ormond Street, WC1 looking east says Dave.

They then choose to cross the road. Great Ormond Street WC1 looking east, with Orde Hall Street slinking off to the right.

The Hospital development is to the left of camera.

Where they find an open door, now with shuttered access. 29 - 35 Great Ormond Street, WC1, thanks Dave.

Shuttered indeed.

The police close in on the cornered trio and their names, particularly Croucher's, are revealed in the press. Unknown location

The gathering crowd, now that they know who is in the building, are keen to see events unfold. Unidentified location.

A policeman holds back a group of school children. Unknown location.

Finding a place to hide, ‘the still’ of the following morning is represented by various misty shots of London. The roof tops and smoking chimney’s.

The roof tops of the City of London looking towards Tower Bridge.

Moored boats and barges on the Thames. Christopher Matheson places this as upstream from Cheyne Walk Gardens.

Vicarage Crescent, SW11 looking towards Battersea Bridge and Fulham Power Station, Townmead Road, SW6. The brick wall to the left remains in order to line up the comparative shot.

A policeman prepares to hold back further advancing members of the general public. Unknown location.

The police tell the trio how long it will be before they enter so give themselves up.

The camera pans up to the window of the room in which the trio ‘hold out’.

The time is ticking away.

Neighbours open their windows to gain a better view of the inevitable ‘shoot out’.