| Street Corner | |
| Director: | Muriel Box |
| Producer: | Sydney Box William MacQuitty |
| Starring: | Peggy Cummins Terence Morgan Anne Crawford Rosamund John Barbara Murray |
| Cinematography: | Reginald Wyer |
| Editing: | Jean Barker |
| Music: | Temple Abady |
| Studio: | London Independent Producers |
| Distributor: | General Film Distributors |
| Runtime: | 94 minutes |
| Country: | United Kingdom |
| Language: | English |
| Gross: | £49,000 (by 1953)[1] |
Street Corner (U.S. title Both Sides of the Law; also known as Gentle Arm and The Policewoman) is a 1953 British drama film directed by Muriel Box and starring Peggy Cummins, Terence Morgan, Anne Crawford, Rosamund John and Barbara Murray.[2] It was written by Muriel Box and Sydney Box. While it is not quite a documentary, the film depicts the daily routine of women in the police force from three different angles. It was conceived as a female version of the 1950 film The Blue Lamp.[3]
The three plotlines concern a female army deserter guilty of bigamy; a toddler neglected and beaten by its stepmother; and an 18-year-old married mother who is caught shoplifting and gets involved with a jewel thief. The film climaxes in a police dog's attack on a criminal.
It was shot at Pinewood Studios and on location around London with sets were designed by the art director Cedric Dawe.
The Monthly Film Bulletin wrote: "Keeping firmly to the Blue Lamp formula, the film has the standard ingredients of its type: crooks operating from a shady and improbable night club; cameo parts (Joyce Carey, Dora Bryan, etc.); cups of tea in the police canteen; and a final chase across a bomb site. In spite of much location work around London, the whole thing appears highly synthetic. Direction and script are stereotyped, and the policewomen, led by Rosamund John, seem to have the makings of a good hockey team."[5]
Kine Weekly wrote: "It illustrates pages from the notebooks of the Women's Constabulary, and the reports, brought vividly to life by good acting and shrewd direction, smoothly interlock. The slick overall, reinforced by authentic atmosphere, and smart dialogue make up-to-the-minute, moving and exciting melodrama."[6]
In British Sound Films: The Studio Years 1928–1959 David Quinlan rated the film as "average", writing: "Documentary-style thriller with upper-class lady coppers. Good final chase, otherwise unreal."[7]
Leslie Halliwell said: "Patter-plotted female Blue Lamp; just about watchable."[8]
Variety wrote: "Putting the spotlight on the women's police force, this yarn encompasses a wealth of human incident which makes absorbing entainment. This British-made pic has a strong lineup of local talent and should register nicely in the domestic market. It deserves to make the grade on merit in overseas territories but lack of marquee names will be a handicap in the U.S. ... Direction by Muriel Box is smooth and efficient."[9]