It's night over Europe, the night ofthe 2nd of May 1945. A crippled Lancaster bomber struggles home across the English Channel, all crew dead save for the young pilot desperately scanning the radio for signs of life.
His prayers are answered. June, a young radio operator, picks up his signal, and, in the final moments of the young flyer's life, a special bond is formed.
The next morning, washed up on an English beach, Squadron Leader Peter Carter is alive, he finds June and the two fall in love. Somehow, he survived. It's a miracle...or is it? Peter Carter should have died that night; a heavenly escort missed him in the fog above the channel, and now he must face the celestial court of appeal for his right to live.
One of the finest products of the partnership between Michael Powell and Emeric Pressburger, it is an extravagant allegory that manages to be simultaneously life-enhancing and necrophiliac.
First shown in late 1946, the re-released A Matter of Life and Death, one of the finest products of the partnership between Michael Powell and Emeric Pressburger, is an extravagant allegory that manages to be simultaneously life-enhancing and necrophiliac. David Niven is at his most charming as a wounded RAF pilot who on the point of death confronts a heavenly tribunal.
The themes are Anglo-American relations, imperialism and the shape of the post-war world, and the movie is dated only in the sense that it exudes that spirit of hope that informed the brief period between the election of the first majority Labour Government and the onset of the Cold War.
Kim Hunter, who the following year was to create the role of Stella in A Streetcar Named Desire, is delightful as the American WAC devoted to Niven, and there is a scene-stealing performance from Marius Goring as the eighteenth-century French aristocrat, a victim of the Revolution, who acts as a heavenly emissary. Jack Cardiff's photography (monochrome for heaven, Technicolor for Earth) and Alfred Junge's sets are exquisite.
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