For those of you who want more context than the initial summary, Mark Lewis (Böhm) is an aspiring film maker who shoots soft porn during the day and murders at night. His neighbour Helen (Massey) takes an interest in the socially awkward weirdo, and we learn that Mark was used as a guinea pig by his psychiatrist father who studied fear.
We were enthralled from the very beginning, with the camera point-of-view, and we were on the edge of our seats throughout. Mark is a complex and strange character; is the real him the awkward and timid man he is in social situations, or is it the dynamic take-charge man we see when he’s about to commit murder?
It’s a must-see for horror fans (or movie fans in general), and it works fantastically as a double bill with the upcoming Psycho. Get out your blankets, wine (or tea – we don’t judge) and snacks, and enjoy!
Victoria Page (Shearer) is a young, ambitious ballet dancer who, after a party, is invited by ballet impresario Boris Lermontov (Walbrook) to try out for his company. At the same time, young composer Julian Craster (Goring) gets a job with the same company coaching the orchestra. As Vicky rises to be the new prima ballerina (after the old one got married), Julian also rises through the ranks as a composer. The culmination of both their work is a new ballet, The Red Shoes, based on H. C. Andersen’s classic fairy tale. Julian composes while Vicky dances the lead.
The ballet is a great success, and its two rising stars fall in love, something Lermontov is none too happy about. He fires Julian, and Vicky, though torn, decides to go with her boyfriend. She marries him and he starts composing operas, also to great success. However, despite her meteoric rise to fame in Lermontov’s ballet, Vicky spends the following year out of work.
Next season, Vicky goes back to Monte Carlo on holiday with her aristocratic aunt and runs into Lermontov again. He convinces her to dance The Red Shoes once more, but on the night of the performance, Julian comes and demands his wife choose between him and the ballet. Crazed (or possessed?) by this ultimatum, Vicky loses her mind and her control, just like the protagonist in Anderson’s fairy tale.
It’s clear that Lermontov is supposed to be some sort of parallel to the shoe maker in the fairy tale, but honestly, he’s not the devil here. He encourages her ambition – an ambition that comes from her, not any outside force. Sure, his encouragement comes from mainly selfish reasons, and he may have some ulterior motive of his own, but at least he want her to follow her passion. Julian seems to think she should be content being the wife and muse of a talented composer, despite her own obvious talent which she is unable to develop once they leave the company. In our opinion, Julian is the bad guy here.
This film is spectacular and definitely a new favourite of ours. It’s an intriguing story with great, often eccentric, characters (we particularly love the other members of the ballet company), gorgeous costumes and breathtaking dancing. The performance of The Red Shoes – a ballet within the film – is wonderful and somewhat reminiscent of the Berkeley musicals from the ’30s, beautifully incorporating cinematic effects with amazing dancing to tell the story.
It seems to us that women’s ambition is a dangerous thing (in which case Lermontov is the devil), although we’re not sure for whom. Is it scary for the men who lose control over them, or for the (fragile) women who will crack under the pressure of trying to balance a traditional role (doting wife and house maker) with a professional career? Possibly both, but it seems like women tend to pay the price – especially in morality tales and fiction (let’s not even go into the sexual undertones of this film and, indeed, the fairy tale on which it’s based).
What we learned: A happy and full life should have room for love and ambition. To have to choose is unfair (especially when it’s one gender asking the other to choose while they themselves can have it all..). Also, things haven’t changed much for ballerinas in the last 7 decades, judging from the parallels between this film and Black Swan (2010).
Sister Clodagh (Kerr) is tasked with starting a convent high up in the Himalayas. To aid in her quest, she is offered four companions; Briony the Strong (Furse), Philippa the Gardener (Robson), Blanche (aka Honey) the Sweet (Laird), and Ruth the Difficult (Byron). Together, they travel to the great unknown to start a school and a hospital for the locals.
They quickly establish a school where they teach children about guns, and a hospital where they treat people who are sick, but not too sick. With the help of government agent Mr Dean (Farrar) and the local General (which is apparently a code name for royalty), who pays locals to visit the convent, the nuns flourish, at least for a while. They also take in a young local girl, Kanchi (Simmons), who has been hitting hard on Mr Dean with no luck.
When the Young General (Sabu – an actual Indian) comes to learn, the sisters are sceptical about admitting a man into their midst, but they eventually let him join their lessons, which Kanchi is thrilled about.
As the film progresses, all the nuns experience changes. Sister Philippa has a crisis of faith and ends up planting flowers instead of the vegetables she’s supposed to be growing for the convent. Sister Clodagh keeps having flashbacks to her life prior to life as a nun, reliving her past relationship back in Ireland with a man she thought she would marry. Sisters Blanche and Briony have to make some tough choices in regards to a sick infant, one which has consequences for all the nuns. However, sister Ruth’s break from reality is the most intense and sinister, which makes the last 20 minutes of the film play more like a horror film than the melodrama of the first hour.
Ruth falls in love (or lust) with Mr Dean, and she becomes insanely jealous of Clodagh as she suspects (rightly or not) that the Sister Superior feels the same way. While the nuns blame the clear air and the water of their new home for their new emotions, it is quite possible that the convent itself might be partly to blame. We learn early on that the palace used to be a House of Women – a house for concubines and wives of the royals, and it seems the women go mad with lust and desire, in some form or another, in this building.
We enjoyed this film a lot. We have to admit that for the first 50 minutes we were not entirely sure what the point was – why was this film made? Beautiful as it was, it didn’t seem to be going clearly in any one direction. However, everything comes together in the last half. It is a strange and bizarre film, but we loved it nonetheless. Ruth’s transformation is wonderfully creepy and the endless drumming towards the end of the film are very reminiscent of I Walked with a Zombie, which adds to the feeling of horror of the last half hour. If you’re up for something weird and unusual, you should check out Black Narcissus. It’s quite the experience.
As Peter Carter (Niven) is plunging towards certain death in a shot up plane May 1945, his final moments are shared with radio operator June (Hunter) and the two, as people are wont to do in these intense situations, fall in love. He ejects from the burning aircraft without a parachute and is surprised to find himself alive on shore some moments later. Surely, the fall should have killed him?
Turns out, it should have. Up on the celestial plane, the clerics are confused about the lateness of his arrival until they find that his Conductor, a very camp Frenchman (Goring), lost the pilot in the fog and thus neglected to collect his soul.
Unfortunately for the clerics of the afterlife, in the few hours of “extra” life Peter got, he met and fell in love with June which greatly complicates things. As he is not at fault here, is it fair to take him away just as he has found the love of his life? Since it was their mix up that caused this to happen, the celestial beings grant Peter a trial with his life at stake.
Meanwhile, in our own world, June has enlisted the help of a doctor friend of hers, Dr Reeves (Livesey, of Colonel Blimp-fame), as her new love is suffering headaches and possible hallucinations after jumping from a plane without a parachute… Naturally, the medical professional diagnoses Peter with head trauma and recommends surgery, to coincide with the patient’s heavenly trial.
This was a beautiful and engaging film which we completely loved. The relationship between Peter and June is lovely, although a bit hasty. She’s either very wonderful or very naïve to stick by him when he starts talking crazy after they’ve known each other for all of a day. The trial becomes very political, and much of the criticism against England from the USA could have been modern criticism against the US, which is very interesting to observe (especially given the newly instated president..). It’s like both countries have a history of proclaiming themselves above others and trying to impose their rules on other nations…
The sets are beautiful and impressive, especially on the other plane.
In a way, this film is like an opposite Wizard of Oz, as our world is in glorious technicolor while the other world is in drab black and white. Then again, our world is supposed to be the desirable one so it makes sense. A Matter of Life and Death has humour, excitement, adventure, romance, political undertones, history lessons, camp Frenchmen and gorgeous shoes! What’s not to love?
During World War 2, Major-General Clive Wynne-Candy, commander in the Home Guard, is “captured” in a Turkish bath by overzealous soldiers who cannot wait for the actual exercise to begin. A scuffle ensues, Wynne-Candy is assaulted and insulted by the young leader, and we are then treated to a two-and-a-half hour long flashback of the aging soldier’s life.
It begins during the Boer War, when young Candy is on leave and hears of some anti-British propaganda being spread in Germany. After being told clearly by his superiors to leave it alone, he goes off to Berlin to see Edith Hunter (Kerr), the British governess who brought the offence to his attention. Because why listen to your superiors?
For offending the entire German army, Clive must fight a duel with Theo Kretschmar- Schuldorff (Walbrook) which leads to injuries for both fencers. They end up in the same hospital for convalescence, where they strike up a lifelong friendship together with Edith. As Clive recovers and prepares to return to England, he finds that his two friends have fallen in love and celebrates their engagement with them. It is only after he leaves he realises that he too is in love with the governess.
The two men go their separate ways, but keep in touch. World War 1 begins, and both soldiers are fighting, though obviously on different sides. On the last night of the war, Clive sees nurse Barbara Wynne (also Kerr) who is the spit of Edith (naturally) and once home, he tracks her down and marries her. Probably healthy.
After 1918, Theo is a prisoner of war in England for a year before he’s allowed to return home, defeated and defiant as many Germans at the time. However, his attitude changes during Hitler’s regime, and he eventually seeks refuge in England.
The second World War is a difficult time for the now aged Clive, and his attitudes to war and how it should be fought give him a dismissal from the military where he has lived his life. The friendships of Theo and Clive’s driver (and confidant) Johnny Cannon (Kerr again) help him find new new purpose and brings us right up to the start of the film.
This was a wonderful film and despite its long run time it flies by. All major actors give great performances, and the glorious technicolor really does justice to the soldiers’ uniforms as well as Deborah Kerr’s amazing hair. We loved the clips showing the passage of time between wars, and the handling of Barbara’s death through newspaper clippings was oddly emotionally effective. There are some very good comments on a then ongoing war which are still good observations 70 years on.
The friendship between Clive and Theo is beautiful and the characters are wonderful as well. They’re both flawed, yes, but they are likable and human, which made us very invested in the outcome. We loved it, and it’s well worth the three hour run time.
What we learned: Oh, so many things! Old people have lived long, full lives. Never go off at half cock. Avoid politicians like the plague. Political ideas are best discussed by drinking beer and fighting duels. You so rarely see a good fencing duel nowadays. Only part of the title is true.