Movie of the Week – The Small Black Room

This week’s movie: The Small Black Room (1949)

During WWII, the Germans developed an explosive booby-trap that they began dropping over England. In 1943, the army decides to bring in an expert, Sammy Rice, to help them find one and disarm it. Rice, however, has his own problems as well. He is in a constant struggle with his department’s overseers about the quality of weapons being developed. He also is in a terrific battle against his own worse nature (his internal drive to drink to dull the unrelenting pain caused by his prosthetic foot).

The film is yet another WWII drama from British auteurs the Archers (Michael Powell and Emeric Pressburger). They work with their frequent collaborators composer Brian Easdale, cinematographer Christopher Challis and production designer Hein Heckroth.

The film stars David Farrar and Kathleen Byron, and features support from Jack Hawkins, Leslie Banks and Michael Gough.

It is interesting watching The Small Black Room for fans of Powell & Pressburger’s work – seeing David Farr and Kathleen Byron playing two people intimately involved after their interaction in Black Narcissus. The Small Black Room is often regarded as a lesser work of the Archers, probably because it does not have the same following as their Technicolor films; however, it is an excellent character drama/thriller. The Archers build tension in many ways throughout the film. It is almost too much to take, making the film a bit difficult to watch, due to its emotional effectiveness. There is also a great artistic flare to the film, as its black & white photography and production design perfectly capture Sammy Rice’s inner demons at play. Personally, I think this is a must-see for fans of the Archers and good WWII dramas.

Trailer: Here

Available on: DVD

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 – 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