



Amazing that a film critiquing the racism in 1950s London should hit so relatively few bum notes when viewed from today. Basil Dearden and scriptwriter Janet Green examine prejudice and social injustice from multiple perspectives, only a year after after the Notting Hill riots. And also tell a compelling detective story.
Sapphire is a young woman of mixed race who has been 'passing for white' in a society where being black imposes so many impediments. When she is found dead on Hampstead Heath, a conventional police procedural is set in motion, with racial hatred the likely motive.
The cast is uniformly superb, with Nigel Patrick as the (comparatively) liberal police inspector. Earl Cameron is a GP and the victim's more obviously Caribbean brother, and Yvonne Mitchell a lonely mother consumed by anger and resentment. Daniel Craig, normally a B picture romantic lead, plays the racist cop.
The cinematography is dynamic and John Dankworth contributes an exciting jazz score. And the suspense really pays off. Anyone determined to seek out dated attitudes to race will inevitably find them. But at the heart of this film, is huge compassion for the bigotry and poverty suffered by so many of the Windrush generation on arriving in the UK.
Not every film about race has the sense to trust its audience. Sapphire does. Set at a moment when Britain’s social fabric was shifting, Basil Dearden’s 1959 murder mystery uses a whodunit to reveal British attitudes — who knew, who cared, who looked away — without once climbing onto a soapbox. It plays more like social observation than sermon, and is much better for it.
Nigel Patrick gives the procedural its backbone, but Earl Cameron carries the deeper charge. The London locations have real texture, and the plotting stays sharp throughout.
For 90 minutes of quietly confident British cinema, Sapphire makes its point without ever needing to shout. That’s rarer than it should be.