| Photos (see all 2 | slideshow) |
| Valerie Hobson | ... | Hester Grahame | |
| John Howard Davies | ... | Paul Grahame | |
| Ronald Squire | ... | Oscar Cresswell | |
| John Mills | ... | Bassett | |
| Hugh Sinclair | ... | Richard Grahame | |
| Charles Goldner | ... | Mr. Tsaldouris | |
| Susan Richards | ... | Nannie | |
| Cyril Smith | ... | Bailiff | |
| rest of cast listed alphabetically: | |||
| Anthony Holles | ... | Bowler Hat (uncredited) | |
| Melanie McKenzie | ... | Matilda Grahame (uncredited) | |
| Michael Ripper | ... | Second Chauffeur (uncredited) | |
| Johnnie Schofield | ... | First Chauffeur (uncredited) | |
| Caroline Steer | ... | Joan Grahame (uncredited) | |
Directed by | |||
| Anthony Pelissier | |||
Writing credits(in alphabetical order) | ||
| D.H. Lawrence | story | |
| Anthony Pelissier | writer | |
Produced by | |||
| John Mills | .... | producer | |
| Earl St. John | .... | executive producer | |
Original Music by | |||
| William Alwyn | |||
Cinematography by | |||
| Desmond Dickinson | (director of photography) | ||
Film Editing by | |||
| John Seabourne Sr. | (as John Seabourne) | ||
Casting by | |||
| Maude Spector | |||
Art Direction by | |||
| Carmen Dillon | |||
Makeup Department | |||
| Tony Sforzini | .... | makeup supervisor | |
| Vivienne Walker | .... | hair styles supervisor | |
| Trevor Crole-Rees | .... | assistant makeup artist (uncredited) | |
| Bob Lawrance | .... | assistant makeup artist (uncredited) | |
Production Management | |||
| Andrew Allan | .... | production manager | |
| Phil C. Samuel | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| Robert Asher | .... | assistant director | |
| Frank Ernst | .... | third assistant director (uncredited) | |
| Alec Gibb | .... | second assistant director (uncredited) | |
Sound Department | |||
| George Croll | .... | sound recordist | |
| Harry Miller | .... | sound editor | |
| John W. Mitchell | .... | sound recordist | |
| Danny Daniel | .... | boom operator (uncredited) | |
| Peter Davies | .... | first assistant dubbing mixer (uncredited) | |
| Basil Fenton-Smith | .... | sound recordist (uncredited) | |
| Gus Lloyd | .... | boom operator (uncredited) | |
Special Effects by | |||
| Francis Carver | .... | special effects | |
Camera and Electrical Department | |||
| H.A.R. Thomson | .... | camera operator (as Russell Thomson) | |
| Reginald H. Morris | .... | focus puller (uncredited) | |
| Alex Thomson | .... | clapper loader (uncredited) | |
Editorial Department | |||
| Anne V. Coates | .... | assistant editor (uncredited) | |
| Les Wiggins | .... | second assistant editor (uncredited) | |
Music Department | |||
| Muir Mathieson | .... | conductor | |
Other crew | |||
| Tilly Day | .... | continuity | |
| Doreen Dearnaley | .... | production secretary (uncredited) | |
| Ken Green | .... | publicist (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb UK section | Add this title to MyMovies |
This is a very intriguing British film, quite unlike most others from the period; it's a pretty dark Freudian tale, from a D H Lawrence short story, whose overt depiction of a schoolboy and his magic toy gets away with a strictly taboo subtext. The focus is on a well-to-do household of the period, in which the hierarchy of adults and children is strictly defined; the parents try to keep their son Paul, wearing short trousers even in the depths of winter, innocent of their adult concerns in particular, their problems with money. After discovering that his rocking horse gives him secret powers when he rides it hard enough, with giddy camera-work showing how it feels when he 'gets there', the boy tries to usurp his father's role to provide his mother with what she needs. John Mills produced the film, and his interest was no doubt linked to his typecast image: he normally plays rather piously unimpeachable characters, so it's quite a shock to see him here directing the lad's first experience of 'riding'. The only slight difficulty is that the boy actor needed to be nearer his early teens to carry the weight of the story's darker implications.