Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

There's a more than satisfactory amount of boom-boom in the movie's trim running time.

Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

One genre at which the British excel is the "Who-Done-It" murder mystery. While "Green For Danger" is right up there with the best, it is also a bit of an odd number because it is also very much a wartime movie. This British-made movie was released shortly after World War II ended and takes place during the war. The cast includes such soon- to-be well known actors as Leo Genn and Trevor Howard. However, it is unquestionably the inimitable Alastair Sim who steals the show. For those for whom the name may not be familiar, Alastair Sim is probably best remembered today for his memorable portrayal of Ebenezer Scrooge in the 1951 British film version of Charles Dickens' "A Christmas Carol", which many still regard as the best of the many of the innumerable film versions. The story takes place in a rural hospital in Britain during August of 1944, at a time when the war was still very much going on for the hospital and it's staff. For British audiences who saw this movie when it was initially released in 1946, the frequent allusions to "Buzz Bombs" or "Doodlebugs" in the story would have needed absolutely no explanation, but they probably would to modern audiences. During the period when the story takes place the Germans were bombarding Britain with their infamous V-1 flying bombs, coming from launching sites located in Northern France, Belgium and Holland. The V-1 was essentially an unguided cruise-missile that simply plunged to earth wherever it happened to be when it ran out of fuel. They were powered by a pulse-jet engine that emitted a distinctive buzzing sound, from which the British soon coined the nickname of "Buzz-Bomb" ("Doodle- Bug" was another common nickname for these "infernal machines"). However, while the distinctive buzzing was a source of alarm to the British public, it was actually when the buzzing stopped that people really dove for cover, because they all understood that was the signal that the bomb was about to hit.The before-mentioned is not only important to the plot, but it is also important in order for the audience to understand that all the characters in the story were going about their normal daily routine with this random bombardment going on all about them around the clock, day and night."Green For Danger" is highly recommended both to those who enjoy the sort of British murder mysteries created by the likes of Agatha Christie, as well as those interested in what conditions were like during World War II on the British "Home Front".

Its World War II and those Nazi night raids are driving the British country folk balmy. When a postman is injured and rushed into surgery, he looks suspiciously at one of the doctors and one of the nurses taking on his case whom he recognizes. The next thing you know, he's gone onto that great post office in the sky and the entire staff is under suspicion for deliberately causing his death. One of the nurses (Judy Campbell) is extremely jealous of colleague Rosamund John and doctor Leo Genn (whom she discovers kissing), and at a hospital function, she denounces the postman's killer without mentioning a name, only hinting about hidden evidence that will unleash their identity. She too ends up dead, leading to a showdown with the five suspects and Inspector Cockrill (Alastair Sim), a know-it-all detective who is in for a few surprises of his own. The Inspector is the film's narrator and reveals enough clues to get the intrigue started.Tension builds at the party during a dance to "Here We Go Round the Mulberry Bush" which later becomes as dramatic a theme music as Alfred Hitchcock used with "The Merry Widow Waltz" in "Shadow of a Doubt" and "The Strawberry Blonde" in "Strangers on a Train". The film can be rather slow in spots, but as the surprises explode, the film just gets more and more amusing. It is astonishing to note that the film seems technically advanced beyond its release year as some British films tended to seem compared to the studio controlled product in Hollywood. Director Sidney Gilliat doesn't give us a slower paced narrative for no reason; Every detail is explored. The film's photography is outstanding. Other than Trevor Howard, Alastair Sim and Leo Genn, the cast may not be familiar to a lot of American viewers, but everybody is fine and each of them have great moments to shine. Stick with the film and you'll be greatly amused by the twists and turns in the plot that you don't see coming. Sim, best known to American audiences for perhaps the most popular version of "A Christmas Carol", plays a role I thought might be a continuing character in other films, but I was mistaken. He seemed very comfortable in the part for this to have been a regular role for him. He has a great final surprise and his response to it is ingenious.

Even the presence of master thespians Leo Genn and Trevor Howard can't solve this 1946 film,which was nothing more than a rather cheap take-off on Alfred Hitchcock's types of films.Mayhem seems to break out at a remote British hospital when a patient dies suddenly and a nurse who realized this was murder soon follows him.Everyone concerned are counted as suspects. The ending is ridiculous with carbon dioxide the culprit, used by the killer instead of oxygen. The real murderer is briefly psychoanalyzed. That's what's needed for this film.Alastair Dim is sent in to investigate this madness. By film's end, he has erred and submits his resignation, which he hopes shall be accepted. This film's makers should have submitted theirs as well.

The original audience must have been reasonably satisfied with this back in 1946 if only for the cast, who were mostly well known and the equivalent of flesh-and-blood comfort food. Alistair Sim, Rosamund John,Sally Gray, Megs Jenkins, Trevor Howard, Leo Genn, Judy Campbell just for openers. Depending on your point of view and cynicism in your make up Sydney Gilliat's direction is either stylish or manipulative; for example he introduces what will turn out to be the five suspects when they are gowned and masked in the operating theatre; with only their eyes visible the camera pans from one to the other as, for no discernible reason, they lay 'meaningful' looks on each other. This is textbook stuff from the 'Meaningless Meaningful Looks' section of How To Direct A Movie. It may well be that in 1944 hospitals were designed with Operating Theatres isolated from the main building so that victim number 2 is obliged to walk through tree-studded grounds to get to it but did she have to do it on the cliché'd 'dark and stormy night' allowing Gilliat to have a ball with howling wind and ominous shadows. Why not a balmy summer's eve, after all she's still going to wind up on the menu, and was it really necessary for the killer to be gowned and masked at a time when the theatre was locked for the night. If these things don't bother you then you'll enjoy this one as much as the majority of posters, and why not, it IS enjoyable AND entertaining in its modest way and probably just the thing after six years of war.