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 – 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