Hellen I like the storyline of this show,it attract me so much

Scanialara You won't be disappointed!

GamerTab That was an excellent one.

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

cleargraphics I came across this movie by accident and it turned out to be pretty good and entertaining. It stars Alec Guinness, who later became the elderly Obi-Wan Kenobi in Stars War IV - A New Hope. The Lavender Hill Mob is kind of a crime-caper-comedy and I think the two 1950s Alec Guinness movies, The Lavender Hill Mob (1951), and The Ladykillers (1955) were the precursors to the Peter Sellers Pink Panther movies of the 60s and 70s.This film has some pretty advanced 1951 visual effects involving the Eiffel Tower, in Paris, and a spiral staircase inside the Eiffel Tower. It was pretty impressive filmmaking and screen writing for a movie that was only shot in black and white.The Lavender Hill Mob is fast moving and it really requires you to engage your brain to watch. It's definitely worth seeing.

Bill Slocum A recognized classic in its day, "The Lavender Hill Mob" is a thick, plodding attempt at showing while crime doesn't pay, it can be fun with the right people involved. Alas, the mob here makes for unengaging company in a film rife with forced humor and labored coincidence.Henry Holland (Alec Guinness) is a junior clerk charged with accompanying bars of gold bullion to his employer's bank. A self- confessed "non-entity," he is taken for granted by all. "His one and only virtue is honesty," a bank executive says. "He's no imagination, no initiative." Unbeknownst to them, however, Holland plans to mastermind the crime of the century, stealing the bullion out of the country in the form of cheap tourist souvenirs with the help of pal Pendlebury (Stanley Holloway), a fed-up gewgaw maker. Can they get away with it?While clever in concept, the plan suffers from lame execution, less by the perpetrators than by screenwriter T. E. B. Clarke, who gives us a comedy of errors where the main joke is how lightly Holland is regarded by those around him. The plot plays out in perfunctory ways, complicated by annoying bolts from the blue like a little girl who won't give up what is a vital piece of evidence simply because she's set on giving it to a friend who happens to be a policeman. The usually brilliant Guinness makes for an awkward lead, with shifting eyes, an annoying lisp (all his R's come out W's), and no real soul. As an actor, Guinness was known for his intellectual approach, but here there's no sense of anything deeper driving the man. He just wants to make a big score because he's the sort no one expects that from.Keith Moyes did a fine job laying out the film's many story weaknesses in his May 2009 review here; my main gripe is its failure to establish much of a rooting interest for either the ill-defined mob (a couple of Cockney caricatures fill out the gang) or the police. Little bits of recognizably pleasing Ealing Studios humor occasionally wiggle up in the background, like an old lady named Mrs. Chalk (Marjorie Fielding) who likes to knit while Holland reads her hard-boiled detective fiction. A run down a spiral staircase at the Eiffel Tower late in the film provides a bracing bit of pure cinema accentuated by Douglas Slocombe's clever lens-work, but the movie kills that excitement by following it with a protracted scene of Holland and Pendlebury running around a French customs house. Many such dull moments weigh down the pacing; while director Charles Crichton's overuse of close-ups add nothing to the comedy.For a studio that released such genially twisted farces as "Kind Hearts And Coronets" and "The Ladykillers" (with Guinness in both films finding ample comedy stores lacking here), one expects more, like some play with the concept of disorganized criminals working out why they are doing what they do. The film provides us with cinema's first chance in seeing two favorite actors of mine, Audrey Hepburn and Robert Shaw, but too many of the secondary players other than Mrs. Chalk are just there to feed lines and push a plot which runs out of the little steam it has after forty minutes or so.The final resolution is a lame sop to 1950s convention that adds nothing to the story. Educated viewers understand this today, and many accept it, but it just doesn't work. Rick couldn't run off with Ilsa at the end of "Casablanca," either, but credit those guys for making that convention play.I didn't dislike the movie that much for what it is; it's pleasant, however dull, in its understated way. But I don't get why it stands out so much given the many finely worked-out and engagingly acted British comedies of the period that don't get half the attention. Back then the idea of rooting for the criminal cut against the grain of the time; today it just feels like a museum piece with no real vitality of its own.

dougdoepke Amusing, if not hilarious British comedy. I expect the film was a belly-laugh when first released and the material was much newer. The pacing is certainly lively, but now such comedic centerpieces as criminal capers gone humorously wrong, and slapstick escapes with speeding cars, appear somewhat shop-worn. Fortunately, however, there are also pleasures that refuse to fade, such as the lowly functionary (Guinness) outwitting a smug employer, or having a brilliant plan tripped up by pre-adolescent schoolgirls. Then too, I expect the slapstick was welcome relief for British audiences still recovering from the horrors of WWII.Guinness is his usual droll self, but also stuffy when he needs to be, while Holloway mugs it up shamelessly. Together, they're an amusing team. Too bad, however, there wasn't a shapely girl to relieve the eyes from the four guys. Then too, I think I could have done without the spiraling descent from the Eiffel Tower; I'm still reeling from that one. One thing for sure, that effect is no cliché.Anyway, the movie appears to have influenced a number of later British comedies, including the St. Trinians series. But whatever its historical value, the comedy is still a very entertaining 90-minutes. Besides, I really like that twisty last shot.

FrangipaniMozzie As I've said on all my Ealing movie reviews, I watched these cause the plots looked interesting but I'm still unsure on how to judge the movies. I'm not one to dismiss them as 'old' and therefore 'boring'; at the same time I don't just jump on the bandwagon saying they're classics just because they've got that reputation and a lot of people without even judging for themselves assume they're great. To quote to further my point - "A Classic is something that everybody wants to have read but nobody wants to read. A classic is also something that everyone praises but no one has read." -Mark TwainSo, watching this with an open mind, I really enjoyed it. Yes you have to realise it's not a modern movie so the kind of themes and scenes presented are different from the packaged elements of modern Hollywood, but that makes postwar British cinema very refreshing viewing. I think the use of the term 'comedy' is misleading because it most likely refers to it in the classic literary sense from Shakespeare and Greek theatre (probably in the early 20th century people were a bit better read than today so these terms would still have meaning to them) which refers to a story with happy ending and farcial plot and wit rather than obvious jokes like in the modern sense but even these movies have some funny scenes. Also the humour and premise is black comedy and subtle so look for something modern if you need laugh-out-loud movies. 'The Lavender Hill Mob' The plot and character development aside from Holland and Pendelbury is somewhat shaky in this although it does not stop us from enjoying the movie. The premise of some struggling working people madly deciding to form a 'mob' and the crazy problem of the Eiffle Tower models and the vertigo scene definitely make it a fun comedy and it's a movie I watch a lot when I need some light humorous distraction. A fun and charming early 50s piece.