Console best movie i've ever seen.

FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

ianlouisiana .......and,regrettably I feel you have to have been there to appreciate it. Lots or R.P.,a few cheery( or miserable in this case) cockneys and women mostly portrayed as either neurotic (the prisoner) or cold - blooded(the screws). And the men aren't much different. The murder victim is scarcely worthy of Miss Dors' grand passion,her so - called friends utterly trivial. It was the age of Suez,the Hungarian Uprising and the gradual decline of the post - war certainties that had kept the country afloat on a flimsy raft of patriotism and colonial mentality. Some things were taken as self - evident....you killed someone and the State could and sometimes would kill you in return. Knowing that, it might be thought that you had to be mad to kill someone,yet insanity was a legitimate defence against a murder charge;an early Catch 22. Most ordinary people were pretty much in favour of capital punishmnent in 1956 despite claims to the contrary.. True there was a growing opposition to it from vaguely Left - Wing groups and the contemporary equivalent of "Guardianistas",and of course "Creatives" have always embraced minority causes thus films like "Yield to the night" and later "I want to live" (interestingly Miss Dors speaks that very line towards the end) could be made and could be successful at the box - office and influential towards public opinion. Some years ago Miss Dors was cruelly referred to as "Forgotten but not gone." Not true - not by my generation who collected her photos from "Picturegoer" and asked aunts and uncles for her L.P. "Swinging' Dors". Here she superbly underplays the condemned woman who probably nowadays would get five years for manslaughter and go on to write a best - seller about it. Sadly that was not the case 60 years ago and she is duly hanged in a suitably stiff upper lipped British manner,leaving her last cigarette burning in the ashtray. Apart from the star, the best performance in the film for me is Miss Marjorie Rhodes as a determinedly cheerful P.O. who clearly is fighting a natural compassion. The excellent Miss Y.Mitchell is emotionless even when overcome with emotion which I don't know is worthy of praise or not. Certainly the role did her no harm and she was all over our telly for years. Once again I thank Talking Pictures TV for digging out a fine old film and dusting it down so a new generation can see how good the British Film Industry was back in the day.

malcolmgsw Whilst this is a good if depressing film I am of the opinion that the ending is a cop out.It does not show the actual hanging which of course is the most barbaric part.The film fails also in showing that Dors has sufficient motive and why Craig preferred the other woman so that part of the film fails.Also it does become increasingly depressive being in the condemned cell.

David Traversa Mesmerizing from beginning to end. Black and white photography, impeccable, giving you the feeling of the scene just by placing the camera in a position that exactly will tell you before hand what's coming. Amazing.And then there is the actress.She, unlike ANY actress of that period, appears most of the time with her face washed up and her hair with 4 inches of black roots, totally unconcerned with her looks for the camera, but she is ACTING. She is acting a storm, what an excellent actress!!In the flash backs the actress becomes DIANA DORS... Fully done with platinum hair, made up to kill and slipped into a dress too tight to believe, it could be painted on her naked body. The story takes its time to develop and little by little it starts building up the tension of her character. The timing is perfect, we get more and more involved with her suffering and waiting as anxiously as herself about her destiny.I don't have words to tell you what a superb movie this is, a film that I think will be impossible to produce nowadays, maybe Charlize Theron came close to this type of character in "Monster", but the feeling of the movie is totally different, the results of the 50s are the results of a civilization gone with the wind.To me, this movie is a masterpiece.

robertconnor Found guilty of murder and sentenced to death, a young woman lives out her last days under the watchful eyes of a small group of prison wardens.From its edgy opening sequence as the camera furtively tracks Dors' determined and resolute steps towards the killing, to the devastating final image of a smouldering cigarette we suspect will still be burning after the executioner has pulled his leaver, Yield To The Night is an extraordinary exploration of the reasons and repercussions surrounding a premeditated murder in mid-fifties Britain. At its heart is a performance which, over 50 years later still resonates with depth and naturalism. Even as we have witnessed her coldly and repeatedly shoot another woman to death, under the expert direction of J. Lee Thompson, Dors enables us to feel sorrow for the killer Mary Hilton and even if we can't condone the deliberate taking of her victim's life, we can at least realise that Hilton is also somehow a victim of circumstance. Dors doesn't put a foot wrong from beginning to end and the fact that she didn't receive domestic and international award nominations for her performance is in my opinion as puzzling as it is unforgivable, especially when one considers what were the celebrated performances of the time (Virginia McKenna, Audrey Hepburn and Dorothy Alison were BAFTA nominated that year). Could it be that the British and subsequently Amercian studio systems were unwilling to accept Dors as the intelligent and talented actress she so obviously was? Certainly the marketing and promotion of Yield To The Night in the US supports this premise - retitled Blonde Sinner, with lurid posters ridiculously emphasising Dors' sex symbol qualities and carrying the ludicrous and tacky tag-line "The Man-By-Man Story of a Lost Soul".Flaws? Yes - as written, Jim Lancaster, whilst handsome and initially charming just doesn't allow the viewer to believe he could be the reason for Mary's actions. Undoubtedly less to do with Michael Craig's performance than with the character being undeveloped in general. However, overall Yield To The Night is a powerful film that will linger long after the final credits have rolled, and now it is finally available in DVD should become essential viewing for all British cinema fans.