
A group of children are evacuated during world war two into the care of an alcoholic woman.
Does No Room at the Inn have end credit scenes?
No!
No Room at the Inn does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of No Room at the Inn, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Wylie Watson
Councilor Green

Hermione Baddeley
Mrs. Waters

Harcourt Williams
Reverend Allworth

Niall MacGinnis
O'Rane

James Hayter
Councilor Trouncer

Sydney Tafler
Stranger

Dora Bryan
The Girl

Eliot Makeham
News Editor

Freda Jackson
Mrs. Voray

Frank Pettingell
Burrells

Joan Dowling
Norma Bates

Joy Shelton
Judith Drave

Betty Blackler
Lily

Ann Stephens
Mary O'Rane

Robin Netscher
Ronnie

Jill Gibbs
Irene
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Read the complete plot summary of No Room at the Inn, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
In the early months of World War II, as children are evacuated from cities to safer areas, teenage Mary O’Rane O’Rane is billeted with Mrs Agatha (‘Aggie’) Voray Freda Jackson in a quiet part of the north of England, where the street looks calm but the household hides trouble. Mary quickly uncovers a troubling truth: behind Voray’s respectable veneer, the evacuee children are kept in squalor and near-starvation, while the money meant to support them is siphoned off to alcohol and unnecessary extravagances. This grim dynamic is kept hidden from the outside world, and even a visit from Mary’s father is deftly turned to Voray’s advantage, as she convinces him that Mary’s allegations are groundless and that his presence on a pub crawl is harmless.
Mary’s concerns are not easily dismissed. Her schoolteacher, Judith Drave Joy Shelton, tries to bring the welfare issue to the attention of local authorities, but the system remains unmoved, leaving Mary feeling isolated and angry. Complicating matters, Mary is drawn into petty crime by her fellow evacuee, Norma Joan Dowling, who drags her into a world of small mischief and defiance. The tension at Voray’s house intensifies when she goes out for the evening and returns to find that her new hat has been damaged, a seemingly minor incident that triggers a violent, alcohol-fueled outburst. In a cruel act, Voray locks little Ronnie Robin Netscher in the coal cellar for the night.
In the small hours, Mary and Norma make a desperate move: they slip from their beds to release the child, hoping for mercy or a chance to set things right. Instead, the sequence of events culminates in Voray’s untimely death, an accidental end that blows open the carefully kept lie at the center of the Voray household. The incident forces Mary to confront the consequences of speaking out and the fragile line between protection and exploitation, while the community must reckon with the consequences of neglect and the welfare system’s slow response. The film paints a portrait of resilience amid hardship, showing how a single night’s choices can shake a quiet town and change the lives of those left to cope with the fallout.

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