Criterion Sunday 173: The Life and Death of Colonel Blimp (1943)

Powell and Pressburger were certainly at the height of their powers in the 1940s, judging from the glorious beauty of their finest works in this period. Blimp surely ranks as one of them, even if it were just for some of the eye-catching dresses modelled by Deborah Kerr, playing basically all the women in the two heroes’ lives. For a film made mid-war, it’s surprisingly lacking in jingoistic patriotism (which may account for some of the rather frosty contemporary reviews). Indeed, it has a ‘good German’ as a lead (Anton Walbrook), inveighing against the Nazis, and even hints that crippling post-World War I reparations may have driven Germany towards Nazism, as chummy Oxbridge types bray and laugh while making vague sympathetic noises towards the defeated Germans back home in Blighty. And whatever blustery old fuddy-duddy Clive Wynne-Candy (Roger Livesey) may think constitutes English fair play when it comes to war, the film’s core tenet is that we need to get over that and learn to punch Nazis. Surely a timely message that we should all still get behind.


FILM REVIEW: Criterion Collection
Directors/Writers Michael Powell and Emeric Pressburger | Cinematographer Georges Perinal | Starring Deborah Kerr, Roger Livesey, Anton Walbrook | Length 163 minutes || Seen at National Library, Wellington, Wednesday 31 March 1999 (and most recently on DVD at a friend’s home, London, Sunday 17 September 2017)

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Criterion Sunday 93: Black Narcissus (1947)

Having recently revisited my previously low opinion on Powell and Pressburger’s The Red Shoes, I’d hoped the same would happen for me with their big beautifully-coloured studio-bound epic of the year before. It’s an exoticist take on India, as Deborah Kerr plays Sister Clodagh, selected to run a new mountain outpost in rural India and swiftly despatched with a selection of other nuns, including the unstable Sister Ruth (Kathleen Byron). The sets and filming is undeniably gorgeous, and there’s a lot of high camp to the proceedings, only heightened by that Technicolor. The fierce competition between Clodagh and Ruth largely takes place across their faces, with Mr Dean (David Farrar) stuck manfully in the middle, dispensing his sardonic advice about how best to get along with the locals. The film’s big misstep is in the whitewashing of Indian roles (with the exception of Sabu’s ‘little’ General), which may be a feature of contemporary filmmaking, but doesn’t make it any easier to watch, much though Jean Simmons in particular does her best to steal her scenes.


FILM REVIEW: Criterion Collection
Directors/Writers Michael Powell and Emeric Pressburger (based on the novel by Rumer Godden) | Cinematographer Jack Cardiff | Starring Deborah Kerr, Kathleen Byron, David Farrar, Sabu, Jean Simmons | Length 100 minutes || Seen at National Library, Wellington, Thursday 20 May 1999 (also on VHS at home, Wellington, April 1998, and most recently on DVD at a friend’s home, London, Sunday 17 April 2016)

Bonjour Tristesse (1958)


RERELEASE FILM REVIEW || Director Otto Preminger | Writer Arthur Laurents (based on the novel by Françoise Sagan) | Cinematographer Georges Périnal | Starring Jean Seberg, David Niven, Deborah Kerr | Length 94 minutes | Seen at BFI Southbank (NFT2), London, Friday 30 August 2013 || My Rating 4 stars excellent


© Columbia Pictures

Jean Seberg, whose career was much too short, gained her greatest fame when she appeared in Jean-Luc Godard’s debut À bout de souffle (Breathless, 1960). Godard, like many directors in the French New Wave, adored American B-movies, but it’s fair to say he also had a lot of respect for the mainstream films of such idiosyncratic studio directors as Nicholas Ray, Douglas Sirk and Otto Preminger. Therefore it’s no surprise that Godard claimed that Seberg’s character in his film was a continuation of her role of Cécile in Preminger’s Bonjour Tristesse of only two years earlier. In both films, it would be possible to argue that Seberg’s young woman is in thrall to an overpowering older man, but where in Godard’s film that man is her occasional boyfriend and gangster Michel, here it’s her father Robert (played by an immaculate David Niven).

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