snicewanger Quire controversial on it's release in 1959 because it dealt with subjects that few people were willing to admit existed let alone talk about at that time. Sapphire boasted a strong cast led by Nigel Patrick and Michael Craig, and directed by the prolific Basil Dearden. Harry Waxman's cinematography is very atmospheric and captures a drab,gritty London of quietly desperate people imprisoned by their prejudices and inability to adapt to changing times Dearden created an almost documentary style murder mystery with characters that seemed more pitiful than likable and the conclusion leaves you feeling somewhat sad and depressed.Fine performances by Bernard Miles, Earl Cameron, and Yvonne Mitchell add to the proceedings. Look for future stars Barbara Steele and Fenella Fielding in small roles.Time hasn't less the effect that Sapphire has on the viewer. Its as relevant today as it was in 1959.

blanche-2 Excellent film, directed by Basil Dearden, who directed Dead of Night and Victim, two marvelous movies.Sapphire takes place in the '50s - the film was released in 1959 - in England. A young woman is found dead in a park. It turns out her name is Sapphire Robbins, and she was engaged to a young man, David Harris (Paul Massie). The autopsy shows that she was three months' pregnant, and David admits that he was the father.When Sapphire's brother (Earl Cameron) shows up, the superintendent in charge of the case (Nigel Patrick) is surprised that he's black. Sapphire was passing. The detective wonders if the Harris family knew - - and when they knew it. David had won a scholarship and was to go off to school - could he be saddled with a wife and child? His father (Bernard Miles) is very protective of him, and his sister (Yvonne Mitchell) is somewhat abrasive.This is the story of underlying prejudice and assumptions about black people that were pervasive at the time, particularly when this film was made. Notting Hill race riots took place in 1958. These prejudices are expressed by the inspector on the case (Michael Craig), especially the myths of black sexuality.Dearden liked to tackle these tough subjects, which he does very well, showing it as an underlying constant. Landladies have "white" houses, black friends dropped by Sapphire when she found out she could pass seem to understand her dropping them. The scene at the Tulips Club is the best in the film, with pulsating bongos and wild dancing. The camera veers all over the room, showing twirling skirts, legs, black people dancing with women who appear to be white. There a man tells the superintendent no matter how white a woman is, you can tell she is actually black because she can't resist the sound of the bongos. Very strong acting throughout, particularly by stage actress Yvonne Mitchell. One thing that shows that Dearden knew what he was doing -- people's reaction to death. When the woman in the park discovers the body, she doesn't scream. And when David learns of the death of Sapphire, he seems shell-shocked and numb. Sapphire's brother seems very calm, finally breaking down and asking, "How could anyone do this?" All very realistic, all not over the top.A must see - it is available on Netflix and on Amazon instant video.

MikeMagi "Sapphire" was ahead of its time back in 1959. Now it's way behind. The investigation into the murder of a woman of mixed race suggests prejiduce that makes for movie mellerdrama but wasn't that blatant even back then. Curiously, scenes involving the film's black characters, particularly one featuring a self-styled smart-ass nicknamed "Big Cigar," are themselves racist. The solution of the mystery is an anti-climax; no way to suspect the culprit until the film's final moments. Yes, "Sapphire" is a well-made movie and Basil Dearden's direction is top notch. But it's now a curiosity piece -- a look at what was once daring (if somewhat contrived) and now seems trite.

sol- A competently made police investigation mystery, with some racial ideas at hand, it nevertheless is too slowly paced for it to be totally enthralling, and there are often dry gaps between the good bits. However, even if it never possesses the power to fully encapsulate, this is definitely very watchable stuff. Some of the performances, or perhaps it is just their characters, tend to be a bit over-the-top, and a few of the music inserts are questionable. Still, it is okay viewing, and some of the racial ideas do come across quite well. It is good as it is, but perhaps a more intriguing mystery with more intricate characters could have improved the way the film gets across its messages.