Producer: Tom Blakeley. A Blakeley's Films Production. A Mancunian Film Corporation Production, released in the U.S.A. by Governor Films: May 1964. No New York opening. U.K. release through Planet: 23 June 1963. Never theatrically released in Australia. 7,210 feet. 80 minutes. (Available on an excellent Odeon DVD).SYNOPSIS: A kidnap plot goes terribly awry.NOTES: John Gregson was sitting on top of the world in 1953, thanks to "Genevieve: which catapulted him, Kenneth More and Kay Kendall to international stardom. Oddly none of the trio's sudden movie success lasted much beyond the 1950s. Kay Kendall died in 1959, and film producers forsook both Gregson and More, when it seemed the picture- going public had tired of them. More's last big success was in "The Greengage Summer" (1961). Though he did make a few sporadic big screen appearances throughout the 1960s, and 1970s, he concentrated on the stage and TV. His last film role was as King Arthur in "Unidentified Flying Oddball" (1979).Gregson's 60s career was equally as sparse, although, like More, he did score one big critical success, "Live Now Pay Later" (1962). Unlike More's "Greengage Summer", however, Gregson's critical triumph proved so unpopular with the public, the movie's Australian distributor didn't even bother to release it! Gregson was reduced to accepting the lead in "Tomorrow at Ten". Good film, good director, but quite a comedown from the dizzy heights of "Genevieve". Gregson's Australian fans were denied the pleasure of seeing their idol in "Tomorrow at Ten" too, until it turned up on TV. There were to be no more top starring roles for Gregson on the big screen. A couple of cameo parts in "The Longest Day" (1962) and "The Night of the Generals" (1966) and a minor role as a doctor in "Fright" (1971) completed his cinema career.Interestingly, all three of the "Genevieve" trio commenced their progress towards stardom well before that fantastic success. More started acting in movies way back in 1935, when he debuted in "Look Up and Laugh", and appeared in eighteen more films before "Genevieve". Gregson made his debut in "Saraband for Dead Lovers" in 1948, and landed eleven more roles before his vintage car brought him fame and fortune. And Kay Kendall, would you believe, made her initial screen appearance in 1944 in "Fiddlers Three". Fourteen films followed until she suddenly became the "discovery sensation" of 1953.COMMENT: Atmospherically directed low-budget effort, with a cast and production values way beyond most of its quota quickie competitors. The screenplay is literate and concise, sometimes even rather witty, whilst the characters are interestingly defined and the plot riddled with suspenseful elements which the director puts across with maximum impact. Basil Emmott's effective camera-work also rates as a major factor in the film's success.OTHER VIEWS: John Gregson. Born at Liverpool in 1919. Married to Thea Gregory. Entered films in 1948. Pictures include Scott of the Antarctic, Saraband for Dead Lovers, Whiskey Galore, Train of Events, Treasure Island, Lavender Hill Mob, etc. 1951: Angels One Five. 1952: The Holly and the Ivy, The Brave Don't Cry, etc. Since 1953 he has appeared in The Venetian Bird, The Titfield Thunderbolt, Genevieve, To Dorothy a Son, Above Us the Waves, Value for Money, Battle of the River Plate, Jacqueline. 1956-57: True as a Turtle. 1959-60: The Captain's Table, Sea of Sand, S.O.S. Pacific, Faces in the Dark. 1960-61: Hand in Hand, Treasure of Monte Cristo, Frightened City. - Studio publicity.

Just an errata and clarification for some of the above:This little gem of a film is now under the ownership of Renown Films and is shown periodically on Talking Pictures TV (TPTV). The film was produced in 1962 as is confirmed by the titles (MCMLXII). It was released in 1963,but not well received, despite the presence of John Gregson who was a well known TV and film actor who often played the role of a police detective. However it was re-released in 1965, after Robert Shaw had appeared as the assassin Donald Grant in the second James Bond film From Russia with Love (1963). William Hartnel, who would subsequently play the first Dr. Who (1963 - 1966) also appears in a cameo as Freddie Maddox (frequently misspelled as Freddy), the father of George Marlowe (Maddox) and, with his wife Masie (Dorothy) Maddox are proprietors of The Golliwog Club.Marlowe is not whistling the theme to Z-cars as he constructs the 'golliwog bomb', but rather is whistling the old English nursery rhyme 'Pop Goes The Weasel' and even sings a couple of lines. He is whistling an unintelligible song as he enters Abots Mead and walks up the stairs - as he approaches the second floor landing whistling can be heard in the background but it is evident from the shot that he is not whistling. The last segment as walks across the landing to the nursery does,however, resemble the theme tune of Z-cars.The house from which Jonathan Chester is taken by the kidnapper is cited as being 14 Winnington Road, Hampstead, London N2. Whilst it is built in the neo-Georgian style of many of the larger houses towards the Highgate end of Winnington Road, it is certainly not the house which now stands there. It was in keeping with the area which wealthy financiers such as Anthony Chester (Alec Clunes) lived in the 50s and 60s.The house at which Jonathan Chester (Piers Bishop) was kept hostage is portrayed as 'Abbots Mead' in Wimbledon, described by the estate agent, Mr. Tamplin (Frank Hawkins) as a detached house on three floors. Whilst the Wolseley police car is certainly seen driving at speed down the A3 expressway (now the Kingston Bypass) the actual location has not been verified.

When I watch a film like TOMORROW AT TEN, I'm a bit bemused because I can't understand why it's not better known. This is a cracking little thriller, one of the best of its era, and it really should be talked about today by film fans instead of being forgotten by all but the most dedicated viewers of the era. It's a pity that B-movie thrillers like this one are so little known as this sort of film more than holds its own against modern fare.There's no padding or fat in this story which gets going from the outset. A delightfully mannered Robert Shaw (on the cusp of stardom in FROM Russia WITH LOVE, although TOMORROW AT TEN was made in 1962 and not released until 1965) plays a kidnapper who abducts the son of a rich businessman and locks him in a room with a bomb hidden inside a Golliwog. The boy's father and a local detective inspector must negotiate before the bomb explodes - 'tomorrow at ten'.It's a great concept and the experienced director Lance Comfort makes a fine job of it. There's suspense in spades here, alongside plot twists you won't see coming and a delightfully tense race-against-the-clock (literally!) climax. The supporting cast includes notable roles for Kenneth Cope, Alec Clunes (father of Martin), Harry Fowler, William Hartnell, and Renee Houston. John Gregson's long-suffering detective inspector is one of the most sympathetic of his career.

The most telling points of this neat little British second feature, are the strong cast of Shaw, Gregson, Clunes, Wheatley and Cope, allied with a lively script and tight direction from Lance Comfort. The plot is tidy and unfussy and proceeds well towards its somewhat novel conclusion. Robert Shaw is excellent as the disturbed kidnapper, Marlow, and sterling support is provided by John Gregson as the police inspector. Some of the scenes are a little over the top, especially the one concerning the dancers in the nightclub, which by today's standards is quite hilarious! Not a classic by any means, but well worth watching in any event.