It's been decades since I viewed this rare B&W movie of the late 1950s. What I remember is the great photography, the police sharpshooters lined up atop the great Sydney Harbour Bridge arch (our much-loved 'coathanger') many hundreds of feet above the water and the laughable acting performance of poor old Aldo Ray. Forget the acting, though, and enjoy the action as the coppers try to take out the baddies on the Sydney Harbour fortress of Pinchgut, otherwise known as Fort Dennison.

Update, 2007. I came across the movie tie-in paperback authored by George Kay which includes 8 b/w photos from the movie. Published in England by Four Square Books in 1962.

One of the previous reviewers stated erroneously that Ealing only lasted 20 years.That is completely wrong.A studio has been on the present site for around 100 years.In 1930 a company was formed called Associated Talking Pictures headed by Basil Dean.This made films for release by Radio Pictures.Trouble was Radio wanted them as supports for their American imports whereas Dean wanted them for top of the bill.So they split from Radio.Dean was ousted in 1938 because he liked to use his wife,Victoria Hopper,in colossal flops such as "Whom The Gods Love".It was at this point that Balcon,who had left MGM British became head of the studios,the name changed to Ealing and it became world famous.However by 1955 various problems beset Balcon and he had no option but to sell the studios,where films are made to this day.Balcon had a distribution deal with MGM and rented space at their Boreham Wood studios,where the likes of "Davy" and "Dunkirk" were made.However MGM was in turmoil and Balcon left for ABPC who distributed this film.However films had moved on since his heyday and so the company was disbanded at the end of the year.It is actually a rather good film,even if Aldo Ray is less than convincing as an Aussie.It is an entertaining film and a fine testament to Ealing and Balcon.

As a keen Australian movie fan, I have to admit I'd never heard of this British production largely filmed on location in Sydney, Australia during the late 1950's. The Australian input into the movie is minimal, restricted to the mainly harbour-side locations and a couple of supporting actors and extras, but conveniently, director Harry Watt had had previous experience of filming in Australia and it shows.

The Australian accents for instance, as performed by the British cast members are spot on, with American import, Aldo Ray, being the exception to the rule. He clearly plays an Australian character (not American as other reviewers allege) and yes, there's never any explanation, as to why he has a different accent from his brother, who when the film starts, has apparently master-minded his escape from a train (which we never see) with the aid of 2 other gang members.

Though critically regarded at the time, TSOP was never a commercial success, perhaps explaining why it has been so forgotten, also unfortunately heralding the arguably premature end of Watt's movie career. However in recent times through the influence of figures such as Quentin Tarantino, it has undergone a further critical re-appraisal, which serves to highlight many positive aspects of this much under-rated film.

One can easily see why Tarantino's interest was piqued. Twists abound from the start, with these gentlemanly crooks, being forced to divert from their escape plans and take an injured man to hospital, in a prologue which is both humorous and suspenseful.

The gang quickly gain our sympathies, when we soon realise all they are intent on, even whilst relatively gently taking hostages, is escape. Contrasting with this are their police pursuers, who are shown to be at the very least, extremely hard-nosed in their intent and seemingly not all that concerned about the hostages' welfare. It all makes for some clever reversals of your typical crime caper tropes.

Again I take issue with some of the other reviewers, when stating that the narrative plays out in a generally realistic, believable fashion. There is a Fort Dennison (Pinchgut) in the middle of Sydney Harbour, which may well have seen daily tourist tours of the facilities. It's not far-fetched to think a workable cannon existed there since the Korean War and gang members may also have had naval service during World War 2. It all adds up, including leader Matt's gradual mental disintegration.

Watt makes great use of iconic landmarks such as The Sydney Harbour Bridge and the unbuilt Sydney Opera House even gets a nascent, indirect mention via the medium of early Australian television and yes, there was a TCN Ch 9 in Sydney at the time.

The Siege of Pinchgut, whilst no classic, is indisputably an unexpected surprise from 60 years ago and I can well understand it being restored and archived by the The National Film and Sound Archive of Australia.