The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

One of the best movies of the year! Incredible from the beginning to the end.

Exactly the movie you think it is, but not the movie you want it to be.

I really enjoyed this film, especially being able to spot so many character actors in small roles. Early appearances for Barbara Windsor and Joan Sims, and appearances by Joan Hickson, Marianne Stone and Dandy Nichols (all would appear in Carry On films). Seeing Marianne in this film makes me realise it's a shame that she never went on to have larger comedy parts.This film might have been better if the parents had been played by British character actors rather than American, and it leaves me wondering who I'd have chosen as the well-to-do parents if I was able to cast. Dirk Bogarde and Julie Christie maybe?As others have said, despite the subject matter this film is carried off quite light heartedly, and the colour photography is lovely. Well worth 90 minutes of your life.

LOST is an interesting, unusually-plotted crime film to come out of Britain in 1956. The electric opening sequence has a nanny taking the baby in her care to the park. She pops into a shop and comes back outside to discover that both baby and pram are missing. So begins a race-against-the-clock investigation as a dogged detective and the missing baby's parents do their very best to follow the clues and attempt to discover just what has happened to the baby. LOST is one of those films that provides a neat snapshot of everyday life during the era, with an endless array of characters introduced and subsequently questioned as the running time goes on. The suspense builds effectively to an action climax, then a twist, and another climax even more exciting. Overall, it's a nicely made little movie, one with plenty of spirit, and an exceptional number of familiar faces in supporting roles, from Thora Hird to CARRY ON stars Joan Sims and Barbara Windsor and plenty more besides.

When a baby is snatched from outside a high street pharmacy, the police begin a painstaking search for clues and information whilst also trying to deal with the child's distraught parents.Green's film is very much of its time, and there's nothing wrong with that – in 1956 Britain we thought nothing of leaving a baby in its pram outside a store. Small shops ran library services, small grocers and bakeries thrived, large supermarkets were a thing of the future and London's parks were awash with uniformed armies of perambulating nannies… In the lead, Farrar is a little dull but this is perhaps more the fault of the script, which leaves little space for character development. As the baby's parents, Knight and Arnall both struggle with the challenges their parts bring, although certainly the script serves them better than Farrar, exploring the different emotional impacts a lost child can bring with both characters reacting differently. Green is better served by a delightful array of supporting character actors, each of whom savours the few lines they are given. This was a hallmark of British cinema in the 40s, 50s and 60s, where so often the supporting and bit players were much more believable and entertaining than the leads – witness Joan Hickson's amusingly patronising tone with her teenage customers (one of whom is Barbara Windsor!) in the chemist shop, or ice cream seller Joan Sims' hilarious gossiping about keeping her hairdo intact in an open top car. Thora Hird is hysterical as a caustic landlady, disapproving of plain-clothes policewomen, whilst Everley Gregg offers a sublime turn as a 'no nonsense' Viscountess in oily overalls.All in all an enjoyably episodic story, coloured with fascinating location shooting and wonderful cameos, and a treat for anyone interested in Britain or British cinema in the 1950s.

The plot of this movie deals with what is quite possibly the worst nightmare for any parent-the abduction of their child.The child is snatched while being looked after by its nanny;its upper middle class parents are distraught and the boys in blue swing into action.Dated social attitudes and the kind of behaviour that is so stiff upper lip it comes across as a Monty Python parody are drawbacks, as are some wooden lead performances but the location photography is good and the direction admirable .The -literally-cliffhanger climax is gripping and the movie passses muster as a modest and engrossing minor thriller