Glad Tidings!

There's an academic paper in the films produced after the war by the late Victor Hanbury.

From 'Daughter of Darkness' (1948) to 'The Sleeping Tiger' (1954) he evidently had a penchant for commissioning heated melodramas with largely female casts in which bottled-up passions well up and collide with skeletons in the closet of postwar British life while the men tend rather gormlessly to be largely oblivious of the emotional heat reaching boiling point around them.