Movie of the Week – The Man Who Knew Too Much

This week’s movie: The Man Who Knew Too Much (1934).

While attending a winter event in Switzerland, a British couple, Mr. and Mrs. Lawrence, are alerted to an imminent assassination attempt on an important European leader. But they find themselves powerless, as the spies behind the assassination plot have kidnapped their daughter, promising her safety only if they stay quiet. What will they do?

The Man Who Knew Too Much is one of auteur Alfred Hitchcock’s best early British films (his other really good British films include The 39 Steps and The Lady Vanishes). Hitchcock worked with writer Charles Bennett, who specialized in mystery thrillers and the-wrong-man stories, as well as composer Arthur Benjamin, cinematographer Curt Courant, and production designer Alfred Junge (who also did fantastic work for the Archers in the 1940s).

The film stars Leslie Banks, Edna Best, Peter Lorre, and Nova Pilbeam.

Hitchcock remade this film in 1956 in the midst of his best run in Hollywood, and it is probably a grander version, but the 1934 film is much more experimental and aesthetically interesting. The film was one of the early sound films and it is clear watching it that Hitchcock is literally creating the film-language for telling a suspense narrative in the new age of sound. In some ways, the film even films avant garde. And, there is a brilliantly fantastic chair fight scene that is utter madness. This is a must-see for fans of Hitchcock and those interested in seeing a good early sound film.

Trailer: Here

Available on: Blu-ray and Video On-Demand

Movie of the Week – A Matter of Life and Death

This week’s movie: A Matter of Life and Death (1946).

Peter Carter is a British pilot who has effectively been shot down during a bombing raid over Germany. In the last moments of his life as he crosses the English Channel alone (his plane on fire and he without a working parachute), Peter contacts a flight tower to say goodbye. On the other end of the radio is June, a young American woman. Though there have never met and never will meet, Peter and June have a moment. Peter decides to bail out rather than burn alive. Meanwhile in Heaven, another member of Peter’s crew awaits his arrival. But Peter never shows. Miraculously, Peter awakens on an English beach unharmed. Realizing where he is, Peter hurries to intercept June on her way home. Dumbfounded by his survival, they both fall into each other’s arms. However, there has been a mix-up in Heaven. Peter was supposed to die; only his angel lost him in the heavy fog. However, now Peter has a new reason to live. He is in love. Now, he must argue his case to stay on Earth, alive. If he wins, he can stay on Earth a bit longer. If he loses, he must pass on to Heaven where he rightfully belongs.

A Matter of Life and Death is one of the Archers’ (Michael Powell and Emeric Pressbuger) greatest films. They worked with frequent collaborators composer Allan Gray, cinematographer Jack Cardiff, and production designer Alfred Junge.

It stars David Niven and Kim Hunter (who got an audition at the suggestion of Alfred Hitchcock), with great supporting work from frequent Archers’ cast members Kathleen Byron, Roger Livesey, and Marius Goring, as well as supporting work from Raymond Massey.

The opening scene in A Matter of Life and Death, featuring David Niven (as Peter) telling Kim Hunter (as June) goodbye from his burning bomber, is one of the greatest in cinema history. That scene alone is enough to make this film a classic, but the Archers do so much more with the material. The film is shot in both Technicolor (for Earth) and Black & White (for Heaven), and features wonderful production design. It explores the power of love and the consequences of war (being released just after the end of WWII). In many ways it is an anti-war film. It is a must-see for fans of the Archers, as well as those interested in cinematography, production design, and great classic films from the 1940s.

Trailer: Here

Available on: DVD

Movie of the Week – The Life and Death of Colonel Blimp

This week’s movie: The Life and Death of Colonel Blimp (1943).

The war/romance drama looks at British soldier Clive Wynne-Candy over the course of his life. As a dashing young man, he is full of honor as well as piss and vinegar, but forty years later now a General he might be too old-fashioned for the times (WWII’s total war). The film details Wynne-Candy’s three major relationships with women and his friendship with German officer Theo Kretschmar-Schuldorff.

The film is the Archers’ (Michael Powell and Emeric Pressburger) first masterpiece (and one of my personal favorite films). The Archers made some of the best British films of the 1940s. Their must-see include: this film, A Canterbury Tale, ‘I Know Where I’m Going!’, A Matter of Life and Death, Black Narcissus, The Red Shoes, and The Small Black Room. On The Life and Death of Colonel Blimp, the Archers worked with frequent collaborators composer Allan Gray, cinematographer Georges Perinal (brilliant cinematographer who would go on to do some of the best photography work in film history with the Archers Jack Cardiff was the second unit D.P.), and production designer Alfred Junge.

The Archers also worked with great actors on the film, all of whom frequented their films. It stars Roger Livesey, Deborah Kerr, and Anton Walbrook. All three are just fantastic.

The Life and Death of Colonel Blimp is a hard film to describe. Watching it is a transformative experience. It is such a well-made and utterly compelling film (both narratively and aesthetically) that most other work feels inadequate or lacking in some respect. Just the Technicolor photography and production design alone is profoundly beautiful (though, I think that the Archers produce something even better with Black Narcissus and The Red Shoes in this respect). The story and performances, however, are almost second to none in film history. This is just a masterpiece in every respect – sadly one that very few have seen (and one that is often forgotten, as is most of the Archers’ work, even though I think they are among the five best directors in cinema). This is a must-see for everyone wishing to have a strong knowledge of the best films (as there is maybe none better – though, honestly, I do go back and forth between this and The Red Shoes as my favorite).

Trailer: Here

Available on: Blu-ray and Video On-Demand

Movie of the Week – Black Narcissus

This week’s movie: Black Narcissus (1947).

Five nuns, led by Sister Clodagh, are tasked with opening a convent high within the Himalayas, but they soon find themselves overwhelmed by the beauty and exotic majesty of their surroundings.

Black Narcissus is one of the Archers’ (Michael Powell & Emeric Pressburger) four great Technicolor masterpieces (the others being: The Life and Death of Colonel Blimp, A Matter of Life and Death, and The Red Shoes). The Archers work with composer Brian Easdale, cinematographer Jack Cardiff (who won an Oscar for his work), and production designer Alfred Junge/costume designer Hein Heckroth (Junge also won an Oscar for the film) – all frequent and brilliant collaborators. The film was shot in its entirety in Britain, mostly in a studio, and yet many believe that it was shot on location in India (some even claim they recognize landmarks and places seen in the film from their travels in India), which is a testament to just how magnificent the technical and aesthetic work is on the film – it is just a stunningly beautiful piece.

The film stars Deborah Kerr (and she is wonderful) and features very strong work from its entire supporting cast, namely Kathleen Byron (who creates one of cinema’s most astounding villains), Sabu, David Farrar, and Jean Simmons.

Black Narcissus was my introduction to the Archers, and it changed everything. Their films during the 1940s are aesthetically enchanting, highly compelling, and purposely and poignantly written (especially their four Technicolor outings). It is my opinion that their work during the 1940s in terms of the overall quality of a body of work is unequalled by any other filmmaker during a decade in film history (though, one can argue Alfred Hitchcock’s 1950s, Akira Kurosawa’s 1950s, Francis Ford Coppola’s 1970s, and maybe even Christopher Nolan’s 2000s). They are among my personal top five directors of all-time. Getting back to the film, it is both a brilliant character drama about repressed emotions (specifically sexuality and desire) and a tense thriller as good as any in the genre. It is one of the best films ever made and one that should not be missed.

Trailer: Here

Available on: Blu-ray and Video On-Demand

Movie of the Week – I Know Where I’m Going!

This week’s movie: I Know Where I’m Going! (1945).

The romance drama is about Joan Webster, an English woman ambitious and stubborn who knows exactly what she wants. She has become engaged to a rich man and is on her way up to Scotland to marry him. However, she encounters strong windy weather and is unable to cross to meet him on Kiloran Island. She is forced to stay in a small town where she meets Torquil McNeil. At first she is infuriated by him, but then something happens.

The film is directed by the Archers (Michael Powell and Emeric Pressburger). From 1943 through 1948, the Archers made seven of the best films of all-time – three in Technicolor, three in black & white, and one that utilizes both. The three in black & white are A Canterbury Tale, I Know Where I’m Going!, and The Small Black Room, and while personally I like A Canterbury Tale the most of the three this is also a great film, ripe with strong characters and wonderful mythos.

The Archers worked with composer Allan Gray, cinematographer Erwin Hillier, and production designer Alfred Junge on the film (the same creative team as A Canterbury Tale and all frequent collaborators).

The film stars Wendy Hiller and Roger Livesey (who also stars in two other films from the Archers), and features Pamela Brown, Finlay Currie, and John Laurie in support.

While I Know Where I’m Going! is maybe not quite as heralded as some of the other films from the Archers (like their films in Technicolor), it is nonetheless a brilliant British film. It is a must-see for fans of the Archers (the best filmmakers in British cinema of the 1940s).

Trailer: Here

Available on: DVD and Streaming

Movie of the Week – A Canterbury Tale

This week’s movie: A Canterbury Tale (1944).

The mystery drama centers around three people who meet in the small town of Kent on their way to Canterbury – a land girl, an American GI, and a British solider. After the girl is assaulted by the mysterious glue-man, the three are determined to discover his identity.

The film is written and directed by the team of Michael Powell and Emeric Pressburger (known as the Archers). While it is not as grand as many of their films, it is strikingly compelling and philosophically engaging. Powell and Pressburger made it right in the middle of their string of master works from 1943-1948 (including The Life and Death of Colonel Blimp, I Know Where I’m Going!, Stairway to Heaven, Black Narcissus, and The Red Shoes). The Archers worked with composer Allan Gray, cinematographer Erwin Hillier, and production designer Alfred Junge on the film.

The film stars Eric Portman, Sheila Sim, Dennis Price, Charles Hawtrey, and John Sweet (an actual Sargent in the U.S. Army who was cast to give the character a very naturalistic feel – and he is fantastic).

A Canterbury Tale is a forgotten gem from one of cinema’s greatest filmmaking teams. It is a kind-hearted film that strives to evoke some sort of emotional revelation within the viewer – much like the characters experience. The film was made during WWII and can also be read as a sort of railing cry detailing the people, ideas, values, and traditions that the allies were fighting for. But, the war seems somewhat removed even with two of the main characters being soldiers, as again this is very much a layered spiritual journey (that merely begins with the detective plot to discover who the glue-man is). It is not a canonized work and thus is maybe not an essential film for cinema historians, but I highly recommend it for those looking for films that offer deeper meaning.

Trailer: Here

Available on: DVD