Birthday greetings to that prolific and gifted playwright and screenwriter Ronald Harwood whose interest in the stage and World War 2 as well as the wider political world has gifted us with such profound work over the past six decades. A brilliant adapter of other people’s work also, his majestic achievement with The Pianist reminds us that he always gets to the heart of the matter. Happy birthday Mr Harwood!
Europe is not to be saved by any single man. England, 1783. King George III appoints 24 year old William Pitt (Robert Donat) as prime minister. When members of Parliament refuse to take Pitt seriously, he calls for a general election and wins. He sets to work on a programme of reform, focusing on rebuilding the navy while across the sea in France, Napoleon Bonaparte (Herbert Lom) begins his conquest of Europe. After rejecting an alliance with France, he puts his own mind at ease by selecting Admiral Horatio Nelson (Stephen Haggard) to lead the fleet… Does the Minister propose to defeat Bonaparte by earnest consideration? It’s not the most typical of Carol Reed’s films – you won’t see the visual flourishes for which he would become distinguished even if Freddie Young is responsible for some fine cinematography here. It’s a fairly conventional biography, adapted by Launder and Gilliat from the book by the Viscount Castlerosse, who also contributes to the dialogue (with the parliamentary exchanges based on real speeches in Westminster) and it’s pleasingly busy with sharp lines and buzzing with character, Donat’s face registering as is his wont every injury and sorrow. He ages convincingly, his personal worries – romantic, financial – mirroring Napoleon’s onward march: Conquerors are invariably upstarts. It’s significant that this was made during World War 2, with a call to arms against such individuals resonant throughout the rise of this iteration of Hitler (rather unfair to Napoleon, I think). This is a lively piece of work, ripe with history, boasting a great ensemble including Robert Morley as Charles Fox, John Mills as William Wilberforce and Phyllis Calvert as Eleanor Eden, with an amusing Albert Lieven playing Talleyrand. Do not seek fame through war
Aka Island of the Burning Damned/Island of the Burning Doomed. We must avoid injecting fear into an already dangerous situation. Novelist Jeff Callum (Patrick Allen) and his wife Frankie (Sarah Lawson) run a pub called The Swan on the island of Fara, on the English coast. Jeff hires former lover Angela Roberts (Jane Merrow) as his secretary and she arrives in the middle of an unseasonal and stifling heatwave – it’s winter, yet unusual things are occurring with cars stalling and TVs blowing up and sheep are dying inexplicably. Scientist Godfrey Hanson (Christopher Lee) arrives and rents a room at The Swan, setting up motion sensor cameras and taking soil samples and Jeff confronts him about what might really be happening and discovers that extra-terrestrials are in their midst so it’s time to get local doctor Vernon Stone (Peter Cushing to lend assistance as the temperatures rise and everyone seems to be losing their mind and what on earth is down in the gravel pit? … If the heat goes on like this it could very likely drive us insane! Adapted by Ronald Liles from John Lymington’s novel, this had previously been adapted for broadcast by ITV in their Play of the Week slot in 1960 and Doctor Who husband and wife screenwriting team Pip and Jane Baker were hired to do this rewrite. This Hammer Films iteration has the key players in the studio and is all the better for it: that alien protoplasm ain’t got nothing on these guys, living in a pressure cooker of sex and fear. It’s nice to see Patrick Allen – that terrifying voice that so dominates my childhood memories is actually quite the thesp: hark at him explain to his wife what the deal is with the smouldering minx Angela: I wanted her! I wanted her body! It was completely physical, I promise you! while Lee is his usual earnest self as the de rigeur scientist, completely rational for a change, with Cushing, as ever, battling evil. Merrow is marvellous as the vamp, going crazy, like everyone, in the sweltering heat. Satisfying sci fi very well handled by Terence Fisher. He’s a peculiar chap – but he’s got guts
I’m not a criminal though, I’m an outlaw. Rose-Lynn Harlan (Jessie Buckley), an aspiring country singer and single mother of two from Glasgow is released from prison after a twelve-month sentence for attempted drug smuggling. She goes to her boyfriend’s council flat and has sex with him before reuniting with her mother Marion (Julie Walters) who’s been taking care of her young daughter Wynonna (Daisy Littlefield) and son Lyle (Adam Mitchell). She learns that she has lost her job in the house band at Glasgow’s Grand Ole Opry, as a result of her stint away. Marion encourages her to give up her dream of becoming a musician to focus on more practical matters and take responsibility for her family: Rose-Lynn has never stuck at anything, can’t play an instrument and has never written a song. She takes a job as a cleaner to wealthy Susannah (Sophie Okenedo) who hears her singing and promises to sponsor her to get Rose-Lynn’s hero BBC DJ Bob Harris to listen to her and fulfil her fantasy en route to the real Grand Ole Opry in Nashville … That’s the end of cleaning floors for you. From a screenplay by Nicole Taylor, this is implausible, irritating and overly generous to its protagonist. In other words, it’s a lot like a country song (not a country and western song, as she has to keep reminding people in her thick Glaswegian accent) and the minutes occasionally drag like hours. It’s hard to watch a woman be so cruel to small children who she had as a promiscuous teenager and proceeds to ignore even after a year in the slammer. In a film that can’t make up its mind whether it’s a social realist drama (her bed is even shot to look like it’s in a prison cell) or the biopic of a music legend (like all country movies to date) who actually isn’t one, even in her own house, it mints a jawdropping black saviour trope, although Susannah’s streetwise hubby sees through Rose’s act (literally) and hearing some home truths snaps her out of her daydreaming. This feckless girl is such a screwup she even gets pissed on the potentially life-changing train journey to see ‘Whispering’ Bob Harris at the BBC in London and has her bag and money stolen. Perhaps it’s meant to be colouring in her shady character but it’s a damning indictment of people who put themselves ahead of their kids despite the logic. Dramatically and emotionally this is deeply troublesome. Even basketcase Juliet Barnes in TV’s Nashville is better to her daughter. Buckley just looks morose when the script is giving her nothing to play. There are some nice moments towards the end when Walters cracks and a kind of rapprochement is achieved but it’s thin gruel. I blame reality TV: in an extraordinary admission a few years ago one of these ‘talent’ show’s producers in the UK let slip the astonishing statistic that “80 per cent of our applicants are illegitimate.” Attention-seeking is a way of life for the working classes, innit. Saints preserve us all from delusional aggressive karaoke queens but this has the narrative shape of those bios, which makes the country angle feel tacked on. Herself a reality show graduate, Buckley has an easy charm, a lopsided mouth and can sing the bejesus out of anything but the narrative falls far short of what it should have been and the fantasy ending is built on air, the fish out of water premise turned on its head, back in Glasgow. She didn’t earn it, actually. Beats mopping floors, I suppose. The score is by Jack Arnold and the songs covered include everyone from Primal Scream, actress/singer Mary Steenburgen and Anna McGarrigle. Directed by Tom Harper who previously directed Buckley in BBC’s adaptation of War and Peace. You never stick at anything
I am very well known for my excursions into the unexplored regions of the mind. If five visitors will pay extra, devilish sideshow carny torture act Mr Diablo (Burgess Meredith) promises people an insight into their real natures – violent, greedy and ghoulish – as they experience a taste of their future. Adapted by Robert Bloch from his own short stories, this contains four, plus a postscript, all directed by Freddie Francis in their fourth collaboration. Look at the shears! Enoch: Greedy playboy Colin Williams (Michael Bryant) takes advantage of his dying uncle Roger (Maurice Denham) and falls under the spell of Balthazar, a man-eating cat. Terror Over Hollywood: Anyone who knows the titles of all the films I’ve made since 1950 deserves a break. Starlet Carla Hayes (Beverly Adams) discovers her immortal celluloid co-star Bruce Benton (Robert Hutton) like all other movie stars is an android and the secret cannot be made public. Mr Steinway: You really do love music, don’t you? A possessed grand piano called Euterpe becomes jealous if concert pianist owner Leo Winston’s (John Standing) new lover Dorothy Endicott (Barbara Ewing) and takes revenge. The Man Who Collected Poe: He really was the greatest collector. He even collected Edgar Allan Poe himself. Poe collector and obsessive Ronald Wyatt (Jack Palance) murders another collector Lancelot Canning (Peter Cushing) over a very desirable item he refuses to show him only to find it is Poe (Hedger Wallace) himself... These stories progressively improve with great production design, sharp narrative turns and surprises aplenty, until the masterful final Poe pastiche and an ingenious twist ending. A wonderfully spinechilling Amicus anthology practically perfect for Halloween. Produced by Milton Subotsky and Max Rosenberg.
Model yourself on me and you won’t go wrong. Awkward but imaginative scholarship boy (Alex Lawther) helps the handsome but spectacularly dim school head boy and hero of their boarding school Henry Winchester aka The Mighty Winch (Jonah Hauer-King) pursue the fiery French Agnès (Pauline Étienne), daughter of a visiting teacher Babinot (Denis Ménochet) who is struggling for the past 18 years to produce his second novel … I’ll blast her with my charm bazooka! This Eighties-set comic drama starts with a very witty titles sequence, the typically upper class British schoolboys on a supposedly unique sports tradition which is really an outward bound torture session tramping through the mud, an experience likened to The Boy in the Striped Pyjamas in a low angle shot of the institution (resembling my own frightening alma mater), a piece of stripey uniform caught on the barbed wire demarcating it from the rest of civilisation (which appears to be Norfolk). I’m just not good at all this word shit, declares The Mighty Winch, a nice but thick joker who can do no wrong in the eyes of the school or indeed himself, so the truly smitten Amberson gets him to pose as a romantic à la Cyrano de Bergerac in a film which wears its French influences very happily with several songs dispersed on the soundtrack. This is about proving you are more than a labrador in trousers. That’s a line that could come from the mouth of comedian/actor Jack Whitehall which is interesting given that this is co-written by Freddy Syborn, his co-writer on TV show Bounty Hunters following their collaboration on Bad Education: this guy has a recognisable writing voice combining tender observation with sleight of hand comments on the class system as well as a fondness for slapstick. The story gets emotional heft not just from Amberson’s helpless infatuation and his desire to make Agnès happy; but also from the to-and-fro of the French father-daughter as the novelist manqué depends on her to approve of his narrative choices (something that culminates in a bad romantic scene with Papa’s non-French speaking romantic interest). Let me show you what Planet Earth looks like. As for Agnès, she’s not just a romantic but a pragmatic wannabe set designer and knows that Berlin is where it’s happening (another amusing European narrative strand nodding to WW2, juxtaposed with a school screening of The Dambusters) which gives rise to a series of beautiful mini-theatres and greeting cards being unfolded to push the story further as the romantic correspondence and deception is pursued. So if this is as lightweight as those delicate messages’ construction it gains trenchancy from the ideas of multi-lingual co-operation. Someone, somewhere, behind these theatrical scenes is trying to tell us something. The screenplay is by Syborn and Luke Ponte; while it’s well directed by Toby MacDonald. They teach you all the ways you can die but only you can learn how to live
And now for something completely different. The multi-talented man born John Cheese celebrates 80 years on the planet today. Fresh from Cambridge Footlights he started to work with the greatest generation of comics Britain has produced, and soon became a household name on BBC TV writing and performing sketches, later gaining infamy with Monty Python’s Flying Circus and then becoming legend with Fawlty Towers. With the Python crew he made hilarious and occasionally controversial big-screen comedies and then wrote and (co-)directed himself in A Fish Called Wanda. He’s a regular in Hollywood productions – doing comic bits, TV appearances, voicing animated characters, becoming part of the James Bond and Harry Potter franchises – and reunited with the Pythons on stage to pay his latest alimony bills. Absurdly talented, extremely funny and very, very tall, it’s time to pay homage to a genius of British comedy. Happy birthday John Cleese!
Not bad but you need to practise. World War I is in full thrust, but Swedish fashion store clerk Madeleine Goddard (Vivien Leigh) has apparently not aligned herself with either side. When she meets German soldier Karl Von Marwitz (Conrad Veidt), she falls in love. Karl, who presents himself as a footman of low rank and supposedly disgraced officer, is in fact a high-ranking official in the German army and an aristocrat. Madeleine has secrets of her own – she is a spy and double agent, working for the Allies in a bid to uncover the new head of the German Secret Service in Stockholm. As Madeleine and Karl are pulled deeper into the escalating war, their love may be the thing that saves their lives but when her German co-conspirator Anatole (Eliot Makeham) is murdered events overtake them and their identities might just prove their undoing ... Is it a crime to be German?/It’s worse, it’s a vulgarity. This pre-WW2 drama is prescient, pacifist and fence-sitting, all at once, a notably atmospheric tale of spy/counter-spy in a Stockholm that presents rather like a certain Moroccan destination would five years later. Leigh is inscrutable to the point of roboticism at first, then suave ladykiller Veidt comes along and she’s even more attractive than that saucy minx Brazilian socialite Lupita (Joan Gardner, wife of Zoltan Korda, uncredited producer Alexander’s brother) who seems permanently up for it. With maps, submarines, pips on the radio, coded messages on the fabric held up against lamplight and fog dappling the harbour, it’s a very attractive concoction with a terrific ensemble cast that includes Ursula Jeans, Cecil Parker and Robert Newton as a U-boat officer. With a screenplay by Lajos Biró and scenario and dialogue by Arthur Wimperis, this is assisted by nicely graduated greys and soft whites in the cinematography which was carried out at Denham Studios on splendid sets designed by Andrej Andrejew, and enhanced by a suitably suspenseful score by Richard Addinsell conducted by Muir Mathieson. Naturally, the costumes by René Hubert are rather fabulous. Directed by Victor Saville. It’s easy to touch your pocket, it’s difficult to touch your heart
I wish I didn’t feel so cut off. Widowed Martha Dacre (Ursula Jeans) tries to keep house and home together for her two serving daughters Helen (Joan Hopkins) who’s involved with radio officer Nigel (Derek Bond) and Lolly (Lana Morris) who’s going out with sailor Roddy (John Stone); and servicemen billeted on her in Portsmouth, a naval base during WW2. While son Benjie (Digby Wolfe) is away in the Navy she has chosen to stay at home as a housewife, but when she learns that his ship has been damaged during the D Day landings, she regrets not taking a more active role in the war and works in a canteen and as a fire watcher. The family story moves forward from D-Day to VE-Day, the 1945 general election and on to 1948. Martha eventually re-marries to her late husband’s colleague, naval officer Geoffrey (Cecil Parker) who was one of those billeted on her and has become a father-figure to her son and daughters… Oh dear, who’d be a mother? This British homefront drama was released three years following the conclusion of hostilities so it has the benefit of victorious hindsight as well as expressing the postwar era when everyone was completely obsessed with the lack of food. Adapted from actress Esther McCracken’s 1944 stage play No Medals by Paul Soskin with additional scenes created by Val Valentine to bring it up to the year of shooting, it’s a witty drama filled with resigned Keep Calm and Carry On messages underscored by dissatisfaction at the dreariness of housework and the plight of women whose life is dictated by the unavailability of food which becomes a thoroughly good running joke: The housewives’ battle cry – the fishmonger’s got fish! cackles housekeeper Mrs Gaye (Thora Hird). Intended as post-war propaganda, a kind of decent British take on Hollywood’s Mrs Miniver (minus the Nazi in the garden) with added politics, it’s smart, unfussy and fair, yet trenchant and involving. Jeans is terrific as the middle class woman finding herself rather (class) envious of Harriet Lessing (Marian Spencer) living in a serviced flat and volunteering: there’s humour to be had in a lovely payoff when Harriet gets her public comeuppance after the war as rationing motivates her to head the local Militant Housewives League and she gets caught up in an unholy scrimmage which fetches up on the front page of the papers. Parker is a great casting choice – the guy not ashamed of being seen decked out in his uniform doing the vacuuming who can say unabashed to Jeans, I never had a genuinely platonic friendship with a woman before. Of course we know where that leads. He digs in and gets creative when he’s sick of being starved of regular food – and milks a goat. I slept and dreamed that life was beauty, I woke and found that life is duty. There is a great sense of warmth in the family relationships and a scene of remarkable tension when Helen and Martha play a card game awaiting a phonecall to find out whether Nigel has survived a bombing. Jeans tells herself when awaiting more bad news, I mustn’t back down. I must try to be of some use. Parker responds, This language of ours is so completely inadequate. They are expressing the weariness of a nation almost done in yet somehow dragging itself up to cope with the inevitability of ongoing loss. There are occasional dips into newsreel montages to bring a context to the experiences as the story commences in the run up to D Day, through VE Day, the 1945 General Election, Hiroshima and after, but the footage is smoothly integrated and doesn’t disrupt the narrative flow. Hugely successful in its day it’s a really rather spiffing reminder of how and why Britain came through the war, the importance of family and sadly that tragic deaths don’t just occur in wartime. Crisply shot by Erwin Hillier amid exquisite sets by Alex Vetchinsky and this raft of wonderful performances are very well directed by Roy [Ward] Baker. Shabby perhaps, but not yet shoddy
She had a weakness for the weakness in men! Suave bachelor Charles Luton (Jack Buchanan) tells Henry the Barman (Victor Maddern) the story of his niece Josephine’s (Glynis Johns) romantic escapades. She rejects her wealthy fiancé Alan (Donald Sinden) in favour of his friend David (Peter Finch), an unsuccessful playwright. But when their situations are reversed, Josephine’s interest in David starts to wane because she can’t help but be drawn to underdogs and the police are on Alan’s tail when he turns up at their rural idyll while David struggles to write a new play and Charles is overnighting… As a child she was alarmingly soft-hearted. You might imagine from the poster that this is a British answer to Moulin Rouge but relatively low-powered as this is in narrative impetus it manages to coast on a battery of real charm and a surprising element of jeopardy. Johns is as usual a bewitching delight and Finch enjoys himself immensely. Strangest of all is perhaps the screenwriting team behind this drawing room comedy: thriller writer Nigel Balchin, Frank Harvey (who would go on to write the brilliant satire It’s All Right Jack) and the director, Roy Boulting. It’s a welcome opportunity to see the great Buchanan and it’s also wonderful to see William (Doctor Who) Hartnell, Sam Kydd and Wally Patch in the supporting ensemble. Gilbert Taylor shoots in colour in a lovely variety of interiors while John Addison provides his typically witty score. A Boulting Brothers production. There is no deadlier creature on earth than a one-woman Salvation Army