A Boy A Girl And A Bike

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When a local cycle club, invite a couple of new members to join them, little do the club realise, that they will soon be involved in a couple of illegal bookmakers putting the squeeze on …

ACTORS :  John McCallum, Honor Blackman, Patrick Holt

YEAR OF RELEASE :  1949

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A Boy A Girl And A Bike  When a local cycle club, invite a couple of new members to join them, little do the club realise, that they will soon be involved in a couple of illegal bookmakers putting the squeeze on the son of one of the Members, a stolen bike, a deserting soldier on the run from the police, and a love triangle, that’s bound to lead to trouble. During the late 40’s and the early 50’s, there seem to be hundreds of these clubs. This film shows a fascinating look at a North Country mill town, with a refreshing absence of traffic jams, yellow lines , traffic wardens, and other things we have become accustomed to seeing on our roads today.

Great nostalgia for film & cycle enthusiasts alike!

A Boy A Girl And A Bike  I try to be objective with my marks for the films I occasionally review on this website, but on this occasion my vote of 9 comes from the heart. The film came out in 1949, just ten years before I started cycling, but it evokes a bygone age,when the postwar roads were free of traffic and cycling was carefree (even if the industrial settings and living conditions portrayed in the film were grim). The film struck a further chord with me because like its hero I came from a posh background and my family frowned on me mixing with those common rough types. It’s a gentle film of a long-lost age – even though it starts with what today what would be a road-rage incident – McCallum hoots aggressively at the club run as he motors along, only then for him to stall his car and to be gently mocked by the cyclists as they overtake him; today such an incident would provoke swearing if not physical contact.

The race at the film’s end is well-staged, though at a cyclists’ filmshow some years ago the close-ups of the competitors against back projection provoked much mirth (but then comparable shots of horse-riders also look artificial in old films, with the riders bouncing up-and-down on saddles in the studio).

Like RitaRisque in her preceding review, I too thought a young Diana Dors looked very nice, as did Honor Blackman. And the supporting cast is a delight for those of us who like to spot British character actors

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