Spondonman
At a time when Britain was supposed to be flat broke and ordinary people were seemingly as monochrome as the movies they watched, Ealing Studios was churning out classics of all kinds. It's all reversed nowadays. In this case a beautifully crafted and intelligent Mills & Boon in Technicolor and, with my thanks to the knowledgeable commentary of theowinthrop written earlier, the added frisson of apparently being (almost) perfectly true.Amidst the political machinations of the House of Hanover in its striving for the throne of England 300 years ago, a young and beautiful woman forced to be the wife of the boorish future King falls for a young and dashing Swedish nobleman, and vice versa. While a powerful lady of the court is also passionately in love with the soldier. As always befits our Betters they all know their duty – to power and money, much to the unhappiness of all those only in love. Although initially it may take a few minutes to get into the politics of another world, it's a mesmerizingly told tale with solid emotional acting moving through some colourful luxurious sets and alternating between intense romance and somber intrigue, even a little swash. Of the main stars Stewart Granger was seldom more er masculine and although Joan Greenwood was even more wishy washy than usual it was perfectly played and believable. One thing: did Sophia's letter to her son ever get delivered?It might be more of a hit with the ladies, but gents too should enjoy it, with or without hankies.
Jem Odewahn
Amazing, amazing film that, sadly, virtually no one knows about. This Ealing historical romance, filmed in muted Technicolour tones, is just stunning. If you are one of the "Stewart Granger was a smarmy bastard who can't act" club, you obviously haven't seen this film. Granger and Joan Greenwood play the doomed lovers of the title to perfection. Flora Robson should have been nominated, and won, the Best Supporting Actress Oscar for her excellent performance. This film contains many visual delights, not least a five minute montage where Greenwood tries to make her way through a masked crowd of revelers to meet her lover. It's an exhilarating, tense sequence that culminates in a passionate kiss. Truly one of the overlooked treasures of the 20th century. This is a big statement, but the film should be as well known and widely seen as other great British films of it's vintage, such as Lean's Great Expectations and Reed's Odd Man Out. Seek this one out at every opportunity! 10/10 +++++
Figaro14
This is the type of film that shows how one can find interesting small moments in an otherwise rather average film. Buried in the middle of this film is a five minute beautiful example of a montage by rhythm as Joan Greenwood tries to make her way through a chaotic masque ball in order to meet her lover. The sequence climaxes with a series of flash pans and POV shots as we are thrust into the center of the action with the character. The filmmaker inserts fast POV shots of close ups of the masked revelers. The cuts and flash pans are edited rhythmically with the music and make for a wonderful example of a well-executed montage sequence. Show just this sequence to film students.
chaworth-1
This is one of the most beautifully made Technicolor melodramas of the 1940's which loses nothing in maintaining historical accuracy. Look out for simply stunning performances from Peter Bull as the heir presumptive to the British throne and, above all, Flora Robson as Countess Platen. Stewart Granger (Konigsmark) is in top form and Francoise Rosay as the Electress Sophia is unforgettable. Dialogue is razor sharp throughout, the costumes are splendidly authentic and the sets are magnificent. The only area of weakness is Joan Greenwood's Sophie Dorothea, but she is supposed to be playing a tragic victim and maybe that's why critics wrote her off as a wet lettuce. It is much to be regretted that Saraband is not more widely available.
AD
