Classic Ealing comedy. During the Second World War, the inhabitants of a small Hebridean island are wilting under a chronic shortage of whisky. When a ship is wrecked on the shore, it is discovered to contain 50,000 cases of malt, which are promptly appropriated by the menfolk of the island. All is well until an English Home Guard commander - determined to see the whisky restored to its rightful owners - calls in Her Majesty's Customs, and the islanders make frantic attempts to hide their treasured alcoholic booty!

William Fitch (Will Hay, in his last film) is a disbarred barrister now summoned to court to face charges of sending begging letters. Falling back on his legal skills, Fitch manages to make mincemeat of the cross examining lawyer, Claude Bobbington (Claude Hulbert), and is found not guilty. However, this lucky streak does not last for long; a madman Fitch helped put in prison years earlier has now escaped, and is out for revenge. Fitch turns to Claude for help, but the pair fail to convince the constabulary that there is a real threat to Fitch's life, and are forced to track down the convict themselves.

Realist drama from Ealing Studios, based on a novel by Arthur La Bern and set in London's working-class East End just after World War 2. The action unfolds over the course of one dismal, rainy Sunday. Tommy Swann (John McCallum) has escaped from Dartmoor prison and turns up at the drab East End home of his former love Rose (Googie Withers), who is now married to the staid George (Edward Chapman) with three children. Rose has a difficult decision to make: should she help Tommy, or put her marriage - and the claustrophobic domesticity it entails - first?

Will Hay plays Professor Davis, the intrepid head of a correspondence college, in this wartime comedy. Davis gets wind of the fact that a Nazi spy has infiltrated an economic delegation with the intent of undermining attempts to reach a trade agreement between Great Britain and certain South American countries. The effort to expose the dastardly fellow sees Hay adopt various disguises in a steady onslaught of mistaken-identity comedy.