Green for Danger Page #2

Synopsis: In a rural English hospital during WWII, a postman dies on the operating table. One of the nurses states that she has proof of who the murderer is. The facetious Inspector Cockrill suspects one of the five doctors and nurses who were in the operating theater to be the assassin. But four poisonous pills have disappeared....
Director(s): Sidney Gilliat
Production: Eagle-Lion Films
 
IMDB:
7.6
Rotten Tomatoes:
77%
APPROVED
Year:
1947
91 min
184 Views


Time for a hundred up before dinner.

- Coming?

- Yes. Right. I'll follow you down.

Get some rest, Nurse.

You're on night duty, aren't you?

- Yes, sir. I'm just going off for now.

- Good.

- Oh, uh, good night, Sister.

- Good night, Mr. Eden.

[Bell Ringing,

Faint, Growing Louder]

Casualties. Woods, you'll be needed

in casualty reception with Dr. Barnes.

I'll finish here.

[Man Narrating] And a little later

they brought in Joseph Higgins.

[Muttering, Moaning Softly]

- Well, Nurse?

- Uh, fractured tib and fib.

And he's had a quarter of morphia.

In shock too.

Got his name?

No. It's left blank.

- No identity disk?

- He couldn't have been wearing one.

We'll have to make room for him in St. Cath's.

Someone's sure to come forward.

- Tell Mr. Eden.

- Yes, sir.

[Moaning Continues]

Compound. Otherwise straightforward.

No internal injuries.

- You haven't cleaned him up, Nurse?

- No, sir.

He was still badly shocked

when they brought him in.

Quite right. They fixed him up with a splint.

It's best to leave him as he is for a while.

- X-ray first thing in the morning.

- Yes, sir.

Then we'll take him out to the theatre

and operate at 10:00. All right?

- Very good, sir.

- Good.

- Clean him up a bit now, but don't worry him.

- Yes, sir.

Had any more of those nightmares?

- No.

- Meaning yes, I suppose.

Why don't you take a leave?

I might later.

I'd sooner work now.

I suppose you were right

coming back here so soon after...

My dear, it isn't the best of atmospheres

for you, you know... constant reminders.

There are lots of jobs outside

where you'd be helping just as much.

- I want to carry on here.

- My dear, you're young.

You don't want to poison your life blaming

yourself for something which you couldn't help.

- I knew your mother, don't forget, and...

- Please.

All right.

[Moaning Softly]

Me helmet.

You never turned off the wireless.

- You never turned off...

- You poor thing.

[Moaning, Muttering]

Am I late, Esther? Sorry.

I fell asleep, and...

- What's the matter?

- Oh, hello, Freddi.

- You look completely out on your feet, dear.

- Yes, I am a bit.

Plenty of sleep, that's what you need.

Hop off now. I'll see to everything.

- Anyone to fix?

- Yes. Three stat, one S.O.S.

- It's all in the prescription book.

- I'll give them. Off you go.

- Thank you, Freddi. Good night.

- Good night. See you in the morning.

Aren't you going

to kiss me good night, Nurse?

Hello, Nurse.

Spare a cuppa for the poor old surgeon?

- Yes, I think so, sir.

- Wonderful. I'm parched.

Busy night after all.

You never know how it's

going to be with buzz bombs.

No. We shall all end up

with elephantiasis of the ears.

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Sidney Gilliat

Sidney Gilliat (15 February 1908 – 31 May 1994) was an English film director, producer and writer. He was the son of George Gilliat, editor of the Evening Standard, born in the district of Edgeley in Stockport, Cheshire. In the 1930s he worked as a scriptwriter, most notably with Frank Launder on The Lady Vanishes (1938) for Alfred Hitchcock, and its sequel Night Train to Munich (1940), directed by Carol Reed. He and Launder made their directorial debut co-directing the home front drama Millions Like Us (1943). From 1945 he also worked as a producer, starting with The Rake's Progress, which he also wrote and directed. He and Launder made over 40 films together, founding their own production company Individual Pictures. While Launder concentrated on directing their comedies, most famously the four St Trinian's School films, Gilliat showed a preference for comedy-thrillers and dramas, including Green for Danger (1946), London Belongs to Me (1948) and State Secret (1950). He wrote the libretto for Malcolm Williamson's opera Our Man in Havana, based on the novel by Graham Greene. He had also worked on the film. more…

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Submitted on August 05, 2018

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