I was one of the schoolchildren who ran on in the closing minutes of the film, to the farm at the foot of Worsaw Hill in Lancashire. There were several takes of this scene, and we alternately ran into the farmyard from along the stream in front, and down a rather steep part of the hill and into the farmyard. Many of the children chosen for disciple parts and principal parts were from Chatburn Primary School. The entire front row in the final gate scene were also Chatburn schoolkids. We were paid ten shillings as extras for each day's shooting. I remember earlier in the year - probably 1960 - Bryan Forbes and Dickie Attenborough came round to the school, and we were all lined up against a wall while they were doing cast selections. I recognized both of them from older films that were appearing on television at the time.Of course the film was a big hit locally when it premiered (at the Odeon in Burnley). It still is, as most people in the surrounding villages are related to someone who was in it.It was a long time before I was able to develop a proper adult opinion of 'Whistle'. What strikes me now is how opinion in various reviews I have seen, and discussed, splits along the lines of the division of opinion among the protagonists. Having once 'identified' The Man as Jesus, even in spite of ("adult") evidence to the contrary, Kathy and Nan, and apparently also the disciples, persist in believing that he was Jesus and is being persecuted all over again. Charlie is the lone dissenter, who interprets the evidence of his senses and concludes "It's not Jesus. It's just a fella". So the overall flavour of the film from an analytical perspective is that in the matter of religious faith, presentation of contrary facts is completely irrelevant to the persistence of the belief. A more cynical twist on this: in so far as only children were party to the belief, while adults only saw a dangerous criminal, it suggests that irrational belief systems require a childlike worldview. This is doubly damning for Faith versus Facts.And yet, People Still Believe.

As my wife termed it, a perfect rainy Saturday movie. From the "kitchen-sink" genre of British film-making, famous for their black and white photography, contemporary, usually working-class settings, characters and dialogue, this appealing film differs from celebrated contemporaries like "A Taste Of Honey", "A Kind of Loving" and "Billy Liar", amongst many others by not being about avowedly adult themes. Instead we get a modern day fairy tale with three young, God-fearing Lancashire children improbably confusing an on the run murderer, secreting himself in their barn, for Jesus Christ.That's basically it for the plot, but helped by debut director Bryan Forbes' sure touch, amusing, vernacular dialogue from the celebrated Willis & Waterhouse team, sparkling music from Malcolm Arnold and some engaging acting, particularly from the three young principals, modern day cynicism is suspended into disbelief as you follow the movie through to its conclusion.The depiction of present-day Lancashire is brought home firmly with a combination of convincing exterior and interior sets and Forbes is smart enough to ground the picture firmly in its time with pop references in the background to stars of the day like Cliff Richard and Marilyn Monroe.Young Hayley Mills, Britain's then popular child-star, demonstrates her ease in front of the camera with a wholly natural performance, full of expression. However the two youngsters playing her kid sister and brother also shine in debut roles, with the Clitheroe-type little lad getting most of the best laugh-out-loud lines; funny as they are, he delivers them like a veteran. Of the adults, the late Alan Bates, as the villain, handles an awkward part deftly, as the horde of curious kids win him over with their adoration.One can delve deeper into the themes of the movie and see in it an allegory for the loss of innocence and a lament for the passing of Christianity in workaday England. The religious symbolism is inserted with restraint, just enough to keep the story going, without doing it to death. Its layers are certainly there for the perusal of film-students but its many charms will probably set aside more serious critical examination, especially if you're caught indoors of a wet Saturday and this delight is playing on the TV schedules.

A charming film about the importance of Spiritualism in a cynical jaded world. Although misguided, the children's belief in JC was heartfelt and sincere, and for an atheist, it touched my soul (assuming I have one) This was juxtaposed to sour, world-weary attitude of the adults in the film, from the greedy farmhand, who's only passion was his traps, to the aunt, embittered by the fact she's forced to help bring up her children of her brother, after his wife has passed away, and of course in a clever swipe at the religious establishment, with the vicar, who doesn't really get it.The innocence and charm of the children reminded me of the original Lord of the Flies, another 60's classic, and you can't helped but be enchanted by the young characters, as they interact, often to great comic effect.There is a moral message behind a fairly straightforward story, and you can take that to heart, and analyse it at length, alternatively you can just enjoy a lovely tale of life seen through children's eyes.

A truly beautiful, beautiful film. I'm in my 30's and would describe myself as an emerging film buff. I've seen all the classics, past and present, and have to say this really is up there as one of my favourites. Filmed nearly 45 years ago, set in the wonderful Lancashire moors, around the town of Burnley, England. This film will do nothing other than warm your heart. The innocence of the lead characters coupled with the respect shown in a bye-gone day, gives you that sentimental feeling, embossed with a sense of pride . I'll spare you the details of what you may watch, but give it a go, and imagine times nearly 5 decades ago, with a simple but interesting plot, and enjoy!