Man on the Run

Date: 1949
Director: Lawrence Huntington
Production Company: Associated British Picture Corporation (ABPC)

Stars: Derek Farr, Joan Hopkins, Edward Chapman, Laurence Harvey
Location(s): Dorset, London

Region(s): ,


A deserter from the army finds himself mistakenly wanted for murder and is forced to go on the run while attempting to prove his innocence.

Additional Information:

Screen captures by Phil Wilkinson

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If you have any information regarding this film, any of the stills, or even better, some NOW shots please contact us.

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The film opens with a shot of the Cornish fishing village where army deserter Peter Burden works as a barman. A little camera trickery overlays the top of this image of The Square in Corfe Castle, Dorset.

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Corporal Newman (Kenneth More) arrives in the village and enters the hotel where Burden is on duty. The corner of and Station Road in Corfe Castle with the wall of the Bankes Arms Hotel to the right and The Greyhound Inn in the background.

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Recognised by the Corporal, Peter Burden (Derek Farr) leaves the hotel at the end of his shift. Looking out onto The Square from the entrance of The Greyhound Inn with the Bankes Arms Hotel on East Street to the left of centre. The Dorset village also appears in in ‘Five on a Treasure Island’, ‘Nuts in May’, ‘West 11’ and ‘The Black Rider’.

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Relocating to London after the Corporal attempts blackmail, the former sergeant looks for the shop run by Robb Collins where he’s been told a good price can be had for his service pistol. Circa 33 Connaught Street, London W2 looking East.

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Peter goes into the jewellers on Golden Street and shows the revolver to the proprietor just as two crooks enter.

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'Slim' Elfey and Dan Underwood flee after knocking Collins unconscious when he raises the alarm. Connaught Street looking towards Porchester Place, London W2

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A Police Motorcyclist approaches causing the two criminals to divert their escape. Porchester Place, London W2

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As the Officer begins to catch up, shots are fired. The two distinctive residences properties amongst the shop fronts are Nos 18 and 16 Connaught Street, London W2 looking East.

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Passers-by rush to help Sergeant Martin who falls from his motorbike. Nos 18 and 16 Connaught Street, London W2 looking East

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Witnessing events unfold and realising that he may be implicated, Peter walks away. Ray Glenister locates this as Charlotte Street, London W1, passing what is now "William Hill" before turning into . . .

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Peter Burden turns a corner and makes his way from the crime scene. . . . . Colville Place in Bloomsbury, also identified by Ray and seen in 'Emil and the Detectives'. (RL)

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After selling his overcoat and shaving off his moustache, Peter sits down in a park and recounts what has happened.

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News of the death of the Police Officer spreads through the Capital. BBC’s Broadcasting House at the junction of Portland Place, All Souls Place and Langham Place in W1.

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At New Scotland Yard, Detective Inspector Mitchell and his men go over the evidence. On the extreme right can be seen the former Curtis Green Building which has been home to New Scotland Yard since 2016.

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Following the death of Sergeant Wilson, Detectives head to the film’s Golden Street where they start questioning local residents. The Norman Shaw Buildings of New Scotland Yard seen from Victoria Embankment SW1.

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From one that I took in September. (RL)

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With the night drawing in and with nowhere to go, Peter heads for a news stand. Looking onto The Mall from Carlton House Terrace with the Royal Artillery Boer War Memorial in the centre background.

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The fugitive reads about the police mobilisation. Carlton House Terrace below the Duke of York Column in London SW1.

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The camera turns to follow Peter as he looks for a telephone box. Looking along Waterloo Place from Carlton House Terrace. The area around this location features in many productions including ‘That Riviera Touch’, ‘Defence of the Realm’, ‘The Sandwich Man’, ‘O Lucky Man!’, 'Kingsman: The Golden Circle', 'Murder Without Crime’ and ‘The Man Who Haunted Himself’.

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After Peter meets Jean Adams whilst avoiding capture in Soho, the war widow helps get rid of incriminating evidence by throwing his pistol into the river. This appears to be a silhouetted Waterloo Bridge crossing the Thames between SE1 and WC2.

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Jean Adams (Joan Hopkins) accompanies Peter to the coast where the two become romantically entwined.

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In London, ‘Slim’ Elfey (Edward Underdown) leaves a café where Jean had recognised him as one of the crooks described by Peter. This is New Compton Street in WC1.

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With little to go on, this isn't too bad a match. (PW)

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Keeping at a safe distance, Jean follows Slim. New Compton Street which also features in ‘Midnight Episode’.

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A wider shot of the street. (PW)

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When the villain enters a building, Jean takes a mental note of the address before meeting Peter. Facing north on New Compton Street.

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The curve of the road is clear to see. (PW)

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Peter takes a cab to the address given to him by Jean, where he is captured by Slim and his accomplice. Looking towards the junction of New Compton Street and St. Giles Passage.

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Facing the same junction. (PW)

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Slim approaches a row of cars parked outside a theatre. Looking south-eastward along Mercer Street with the Cambridge Theatre to the left.

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The bright, but welcome, morning sun makes this the best angle possible. (PW)

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The vehicles are scanned as Slim walks past. Facing Seven Dials on Mercer Street in WC2. The area is seen in 'On the Beat' and 'The Naked Truth'.

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Looking the same way almost sixty years later. (PW)

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The crook glances around before getting into one of the cars. To the left is the entrance to the Cambridge Theatre at the corner of Mercer Street and Earlham Street.

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See what difference a lick of paint makes. (PW)

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An Austin 12 Saloon is driven away. Seven Dials seen from Mercer Street with Earlham Street on the left and the corner of Monmouth Street to the right.

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Taken before the population invade the streets. (PW)

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At the house, Slim checks that the coast is clear before Peter is brought out by Dan. Outside 54 New Compton Street.

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A better class of car can now be seen in the area. (PW)

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Peter is driven away to a warehouse in the docks of London’s East End.

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A police car approaches the theatre where the Austin 12 was taken from. Seven Dials with the Crown public house at the corner of Mercer Street and Short’s Gardens ahead.

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In 1694 a sundial pillar was built at the junction but removed in 1773. A replica of the monument was erected during 1989 . . . . but unfortunately, its out of shot to the left. (PW)

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The camera follows the car as it comes to a stand. The junction formed by Short’s Gardens, Monmouth Street, Earlham Street and Mercer Street at Seven Dials.

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A much tidier view these days. (PW)

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A Policeman gets out of the car to find out the registration number of the stolen vehicle. The entrance to the Cambridge Theatre in London WC1.

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And now in colour. (PW)

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The wanted car’s description is circulated. Hammersmith Bridge Road W6 at the north end of Hammersmith Bridge with the corner of Rutland Grove in the left of centre distance.

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More patrol cars join the search. Facing Piccadilly Circus W1 with Piccadilly in the background and the enclosed base of the Shaftesbury Memorial Fountain to the top left.

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A similar view of the famous location. (PW)

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The Austin reaches Limehouse. Looking west on Narrow Street E14 from the swing bridge over the entrance to the Regent’s Canal Dock, now known as Limehouse Basin.

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The shot pans with the car as it speeds towards the jewel thieves’ hideout. Facing east on Narrow Street in Limehouse with the travelling crane and conveyor linking Stepney Power Station with Blythe Wharf crossing the roadway.

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Detective Inspector Mitchell sends men out from Scotland Yard to search every garages and warehouse within the docks. The junction of Victoria Embankment and Derby Gate in front of New Scotland Yard in SW1.

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From one that I took in September. (RL)