Miracle in Soho is a 1957 British drama film directed by Julian Amyes and starring John Gregson, Belinda Lee and Cyril Cusack.

The film depicts the lives of the inhabitants of a small street in Soho and the romance between a local road-builder and the daughter of Italian immigrants.

Powell wrote in his memoirs that Pressburger was always interested in making a movie of Miracle claiming "it had been optioned in Berlin, in Paris, and in London, and had even made one flight to Hollywood for six months before returning to its author, minus a few feathers."

It was a tender trap, a good fairy, a marshmallow, the sort of film that attracts and sucks in top talent like William Wyler, Margaret Sullavan and then leaves them floundering in the gooey mess.

"[4] He also called the script "emasculated de Maupassant" which "shows its age by the delicate way it steps around sexual relationships" and "the people in the lane are the usual ethnic stereotypes.

[7] In June 1954 Pressburger announced he and Powell would make Miracle as part of a slate of three films, the others being an adaptation of Die Fledermaus and a story of the scuttling of the Graf Spee called The Battle.

Pressburger called Miracle "a love story - a sort of up-date of Seventh Heaven set in London's Soho district.

[12] Powell felt Davis was "maneuvering Eric into a position he could not defend" and suggested that Pressburger ask a more experienced director like David Lean or Carol Reed, or Jack Cardiff, who had been cinematographer on several Powell-Pressburger movies.

[17] According to a biography of David Lean the film was "a big flop" for which Sir John Davis blamed Emeric Pressberger and "made it plain that he had no future with Rank.

It rates as fair entertainment that should cash in on the popularity of the stars... John Gregson never seems quite at home in rough clothes but makes a likeable personality... and Belinda Lee is simple and naive as the anglicized Italian girl in love with him.

"[20] The Monthly Film Bulletin said "This depressing production, with its synthetic Soho setting, has characters conceived strictly within the less happy conventions of British comedy.

The lack of any style or pace in the writing needlessly vulgarises the central situation, though John Gregson and Belinda Lee do manage to convey a certain superficial charm.

The huge sets, designed by Oscar-winning Carmen Dillon, complemented Pressburger's view of the magic that appears in everyday life, but in a climate increasingly dominated by social realism, the street looked stilted and fake.

"[23] In a contemporary review, What's On in London called the film a "sentimental little fairy story...Peter Illing, as Papa, brings this coloured celluloid confection to life every time he comes on the screen, and Cyril Cusack, as the Salvationist postman, is very good, too.

Christopher Challis's grim images of Soho have a certain historical value, but, amid a plethora of dodgy accents, neither John Gregson nor Belinda Lee even comes close to convincing";[25] and ithankyouarthur wrote, "With far grittier kitchen sinks just around the corner, the film looks back rather than forward but still has a cosy charm all of its own and the magic realist tone you would expect from its author and producer.