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Showing posts with label David Lean. Show all posts

Saturday, November 13, 2010

David Lean - Oliver Twist (1948)

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Expressionistic noir photography suffuses David Lean’s Oliver Twist with a nightmarish quality, fitting its bleak, industrial setting. In Dickens’ classic tale, an orphan wends his way from cruel apprenticeship to den of thieves in search of a true home. Here Alec Guinness is the quintessential Fagin, his controversial performance fully restored in Criterion’s new digital transfer.

Links:
Criterion
All Movie Guide

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pass:www.worldscinema.com

Monday, May 17, 2010

David Lean - Ryan's Daughter (1970)

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Plot Synopsis [AMG]
The logic behind inflating Robert Bolt's minimalist romantic drama Ryan's Daughter into a $12 million epic seems to have been "When David Lean directs, it's a super-spectacular." Sarah Miles (who at the time was Mrs. Robert Bolt) stars as Rosy, the daughter of Irish pubkeeper Tom Ryan (Leo McKern). Married to tweedy, sexless schoolmaster Charles Shaughnessy (Robert Mitchum), restless Rosy has an affair with British officer Randolph Doryan (Christopher Jones). When village idiot Michael (an Oscar-winning turn by John Mills) innocently uncovers evidence of Rosy's indiscretion, the local gossips begin wagging their tongues. [...]
Lensed on location in Ireland by frequent Lean collaborator Freddie Young, Ryan's Daughter is simply too large-scale for its basically intimate story. Audiences didn't seem to mind David Lean's directorial elephantiasis, however; the film brought in more than twice its cost.

Wednesday, May 5, 2010

David Lean - Brief Encounter (1946)

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Synopsis
From Noël Coward's play Still Life, legendary filmmaker David Lean deftly explores the thrill, pain, and tenderness of an illicit romance in the dour, gray Britain of 1945. From a chance meeting on a train platform, a middle-aged married doctor (Trevor Howard) and a suburban housewife (Celia Johnson) enter into a quietly passionate, ultimately doomed love affair, set to a swirling Rachmaninoff score. Criterion is proud to present Lean's award-winning masterpiece a beautifully restored digital transfer.

THE SCREEN IN REVIEW

An uncommonly good little picture--and one which is frankly designed to appeal to that group of film-goers who are provoked by the "usual movie tripe"--is the British-made "Brief Encounter," which opened on Saturday at the Little Carnegie Theatre as the first of so-called Prestige imports.

Being no more than an expansion of one of Noel Coward's one-act plays--the conversational "Still Life," from his "Tonight at 8:30" group--it is plainly an intimate drama, limited in every respect to the brief and extremely poignant romance of a married woman and a married man. And virtually all of the action takes place in a railway waiting-room and in the small English town adjacent thereto, where the couple make their fleeting rendezvous.

That's all there is to the story--a quite ordinary middle-class wife, contentedly married and the mother of two children, meets a similarly settled doctor one day while on a weekly shopping visit to a town near that in which she lives. The casual and innocent acquaintance, renewed on successive weeks, suddenly ripens into a deep affection by which both are shaken and shocked. For a brief spell they spin in the bewilderment of conventions and their own emotional ties. Then they part, the doctor to go away and the wife to return to her home.

There are obvious flaws in the story. The desperate affection of the two develops a great deal more rapidly than the circumstances would seem to justify. And the cheerful obtuseness of the lady's husband is more accommodating than one would expect. But the whole thing has been presented in such a delicate and affecting way—and with such complete naturalness in characterization and fidelity to middle-class detail—that those slight discrepancies in logic may be easily allowed.

Under David Lean's fluid direction, Celia Johnson, who was memorable as the commander's wife in Mr. Coward's fine "In Which We Serve," gives a consuming performance as the emotionally shaken lady in the case. Unprettified by make-up and quite plainly and consistently dressed, she is naturally and honestly disturbing with her wistful voice and large, sad saucer-eyes. And Trevor Howard, who has none of the aspects of a cut-out movie star, makes a thoroughly credible partner in this small and pathetic romance. Excellent, too, as characters in a flat, middle-class milieu are Joyce Carey, Cyril Raymond, Everley Gregg and Stanley Holloway.
Bosely Crowther, NY Times, August 26, 1946

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pw: snoozer

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no pw

David Lean - Blithe Spirit (1945)

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A classic British film adaptation of a Noel Coward play, where a newly married couple are haunted by the ghost of the husband's first wife. Full of wonderful comic performances, people always cite Margaret Rutherford but I think its Kay Hammond as Elvira who steals it

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pw: snoozer

David Lean - This Happy Breed (1944)

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Plot Summary:
Noel Coward's attempt to show how the ordinary people lived between the wars. Just after WWI the Gibbons family moves to a nice house in the suburbs. An ordinary sort of life is led by the family through the years with average number of triumphs and disasters until the outbreak of WWII.

Comment:
"It is clear that Noel Coward wrote This Happy Breed primarily for to be performed on the stage. However, this is not to undermine the screen adaptation of This Happy Breed. I think the only reason why the play works so well as a film is due to none other than the genius of director Sir David Lean. Without ever detracting from the intended interpretation of a play or a book - such as Oliver Twist (1948), -Sir David is not only adept at capturing atmosphere,but his focus on character permits the viewer to examine an individual as if s/he were being looked through a microscope.

In This Happy Breed the characters are all individuals, albeit as members of one family unit, whose struggles of coping with everyday life are made difficult by the social changes which are taking place in their midst. It seems that these social changes make some members of the family angry and bitter as portrayed by the mother-in-law characters' acid comments and constant nit-picking. Meanwhile the character of Reg gets caught up in the the politics of the far left, leaving him at odds with his Dad, and his more 'acceptable' political views. Meanwhile Queenie is the strongest character of all. Because no members of the family appears to understand Queenie, least of all her parents who put her aspirations and ambitions down to being spoiled as a child, she has to run away, albeit with a married man, who eventually lets her down. This disappointment probably left Queenie weak and vulnerable, and thereby she eventually conforms to convention by marrying the boy next door, who she doesn't really love at all. By conforming to convention Queenie is accepted back into her family, because now her conformity made them feel safe as one family unit again. I wonder just how many other women can identify with Queenie!

All in all an excellent film which deserves no less than 10 out of 10, thanks to Sir David Lean in particular!"

"Anyone with any sense knows all about the injustice of some people having a lot and other people having nothing at all, but where you make the mistake is blaming it all on systems and governments. You have to go deeper than that to find the cause of most of the troubles in this world. And when you’ve had a good look you’ll see likely as not that good old human nature’s at the bottom of the whole thing."

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pw: snoozer

David Lean - The Passionate Friends (1949)

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from www.britmovie.co.uk

Passionate Friends was a transitional work for David Lean on several levels. Made immediately after Oliver Twist, the last picture with second wife Kay Walsh, Passionate Friends is the first picture with third wife Ann Todd. It is also David Lean's first taste of foreign locations, the Swiss Alps in which a portion of the film is set. Finally, it is a return to a contemporary setting, although the H.G. Wells novel is set before World War One.

In her youth Mary Justin (Ann Todd) had a romance with Steven Stratton (Trevor Howard), years later while living miserably in Switzerland with her now husband Howard Justin (Claude Rains) she again meets Stratton and embarks upon a love affair. Mary Justin becomes torn between what the two men can offer; passion or a union for purely material satisfaction.

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pw: snoozer