on Sunday (1947) Here, the function of the mirror is as a kind-of portal to an idealized, romanticized past, and an escape from Rose's drab, repressed life. In some ways it also feels like a reference to Tennyson's The Lady of Shalott, a woman condemned to domestication, only able to view life's "shadows of the world " through the lens of a looking glass. In rendering quasi-physically the difference between the lustrous mirror world of the past and the everyday routines of the present, Hamer finds an elegant visual expression of fantasy and repressed sensuality, and as the narrative unfolds and Tommy's very real presence returns to Rose's life, the diametrical planes between these mirrored worlds of reality and fantasy begun to blur together with predictably catastrophic consequences. Withers made two other films with Robert Hamer at Ealing, most significantly the 'Haunted Mirror' segment of their famous portmanteau horror Dead of Night, released some two years before Sunday . Once again, the theme is repression, a mirror acting as a conduit between an exotic fantasy world and mundane reality: Withers plays Joan, about to be married to her fiancee Peter Cortland (Ralph Michael), and who one day buys for him as a present an antique mirror. Note in the still below that when we initially see the mirror, the 'real' couple in the foreground are out of focus, instead inviting us to view the pair separated by the triptych frame in the reflection. Ralph Michael and Googie Withers in Dead