AN INSPECTOR CALLS
That said, the plays moralising becomes very hard to swallow seeing the film more than forty years later. It is especially noticeable the way that J.B. Priestley loads the dice in favour of his argument the Eva character is so set upon in her misfortunes that by the end of the film she has ascended to virtual sainthood. It is a film that is deeply condemnatory of upper-class privilege. Although it is very much a film of its times (ie. post-War England) the films moral outrage never much extended to enjoy any popularity across in America with its more laissez faire classless system, while the concept of a woman abandoned pregnant barely raises much in the way of indignation today.
Occasionally some good characterisation shines through the moralising like the way Mrs Birlings judgments against the unwed father and the demand that he be exposed are turned around when said father is revealed to her own son and she suddenly wants the news quashed; or the end that queries Pooles existence and everybody slips back into their old hypocrisies in relief. The ending contain several Chinese box-like twists wherein comes the fantastic Twilight Zone (1959-63)-ish rub. In fact, the whole play would suit The Twilight Zone and the summary moral judgments that Rod Serling used to like making rather well.
The J.B. Priestley play was also filmed as An Inspector Calls (1982), a BBC mini-series in three thirty-minute parts with Bernard Hepton as the inspector; and An Inspector Calls (2015), a Chinese-made theatrical comedy.
Director Guy Hamilton later gained fame as a director with several films in the James Bond series, Goldfinger (1964), Diamonds are Forever (1971), Live and Let Die (1973) and The Man with the Golden Gun (1974). Hamilton also made the wittily enjoyable Remo Williams: The First Adventure/Remo: Unarmed and Dangerous (1985), adapted from the popular Destroyer novels.