Scott44 ****User reviewer Robert J. Maxwell ("A lesson in economics and understatement", Robert J. Maxwell from Deming, New Mexico, USA, 26 September 2005) has interesting observations about the editing. Meanwhile, l_rawjalaurence ("Frenetic Satire at the Time of the Festival of Britain", l_rawjalaurence from London, 26 April 2014) has a great review. Also, blanche-2 ("Timely message from the wonderful Ealing Studios", blanche-2 from United States, 19 March 2013), while properly concerned not to come off as a "conspiracy theorist", draws good parallels between this film and other historical events.****"The Man in the White Suit" (1951, Alexander Mackendrick), an economic satire, is comedic despite a dystopian plot. The story is a nightmare, as a solitary visionary is prevented from enlightening a community by the community itself. However, the tone is light. There are many superb British character actors backing up the principals. The pace is frenetic and it is interesting throughout.Alec Guinness is the determined young chemist (and visionary) Sidney Stratton. Sidney prefers to work for textile companies, even if it means accepting low-wage work. During Sidney's off hours he sneaks into the company's chemistry laboratory to tinker with his new invention on the sly. So much has changed since the mid-twentieth century. For one thing, there used to be many people employed at a mill, because automation and outsourcing had not yet arrived. Also, labor unions once were formidable, and its leaders actually worked for the rank and file. This film's narrative could not be set in the modern era because today's corporate decision-making is always top down and formulated behind closed doors.Armed with cutting edge science (e.g., he is an expert on "long molecules"), Sidney pursues his dream of inventing a new cloth that is perpetually wear and stain resistant. Unfortunately, the mid-level and senior-level management for the (current) company that employs him take issue with his research being conducted at company expense. Sidney endures a great deal of oppression before he finally gets the opportunity to pitch his radical scientific ideas to Alan Birnley (Cecil Parker), the CEO of the Birnley mill. Stanley owes his good fortune to Alan's daughter Daphne, (Joan Greenwood). After she almost runs him over with her car the two have a wonderful conversation with Sidney laying in the dusty English street discussing science to her as she looks down at him. Once Stanley has permission to complete the research (which is fraught with explosions comparable to hand grenades), he produces the fabric and then manufactures a stylish white suit that demonstrates the new material.With Sidney on the cusp of fame, Fate intervenes with a pair of blows. The first is the wealthy business elites (i.e., capital) who want his invention suppressed, fearing it threatens their perpetuity. The second is Sidney's dismal realization that even his presumed friends in the company union (i.e., labor) prefer his invention shelved out of concern it threatens their jobs. With nearly the entire community against him, Sidney manages initially to avert physical harm thanks to the inconsistent Daphne and a young mill girl (Charlotte Mitchell). The young girl has limited screen time but can be regarded as Sidney's Guardian Angel. The gears of oppression continue to grind Sidney down until the breathtaking conclusion when the inventor is surrounded by the enraged community on a dark street at night.Visually, it always looks great. The Oscar-nominated screenplay (by Roger MacDougall, John Dighton and MacDougall's cousin, Alexander Mackendrick) is fast-paced and vigorous. The always excellent Cecil Parker is convincing as a mill boss who is torn between progress and the demands of the (corpse-like) Sir John Kierlaw (Ernest Thesiger), who is a leader of what we might call the Illuminati. Alec Guinness turns in another excellent performance as the young inventor. Once again, Guinness inhabits his role, infusing uniquely British mannerisms, stamping his ownership of the character. He sure makes it look easy.Joan Greenwood's Daphne is one of the great pleasures of the film. To modern audience, she may come as a casting surprise. While attractive, she is not glamorous. A lot of film honchos would have been tempted to cast a female lead who appears to be more obviously a physical match for Guinness. However, at Ealing Studios they knew the allure of her (now-legendary) voice and diction. Her purring voice is deep but not real husky. It is a perfect antidote to Guinness's obvious charm when the two are getting intimate."The Man in the White Suit" is a pleasure that draws many parallels to the modern era. Cinephiles should see it in a revival theater, making sure to avoid all chemistry laboratories getting to one.

pruthvishrathod This film is a piece of sheer comical brilliance. Not just comedy I loved but the message it delivers is also magnificent. Through its comical nature somehow it conveys the similar thing which Ayn Rand did in her novels. About Guinness, I just cannot get enough of him. Every time I watch him I tend praise him more than the previous time. Here too he brilliantly plays the role of a genius inventor living in silence. His latest invention is going to shake the whole world. But he is not allowed to do his experiments properly. Even after he is succeeded, the industrialists and other classes oppose to enclose his invention. Film's first half is full of funny scenes but in second half it simply nails the point. It creates a brilliant satire of whole Industrial order. Final portion of the movie in which, Alec Guinness almost run like a fugitive is too brilliant. This is one of the best film of Ealing comedy era. It is too realistic & convincing and yet hilariously funny. Ending really shook me up. Joan Greenwood looked stunning. Her character was honest & full of grace. Cecil Parker & other guys were also very funny. But Alec Guinness deserves the highest respect for this. Must watch comedy..

Karl Ericsson What provoked me to write this review was the commentaries made on the blu-ray disc recently issued. There, in the "extra"-compartment, three nincompoops discuss the film, totally unable to see the obvious. Anyone who sees the film will not have to look far that it is a film about how "business" makes progress almost impossible. It shows, without a doubt, that greed (the owners) and stupidity (the workers that are unable to think outside the box and realize that if capitalism disappears they will all have to work much less if there is progress) are not the friends of innovation. Greed only supports innovation as far as putting a pressure on the workers and increasing the profit. Greed will however never support an innovation that puts a stop to continuing business by killing the market altogether by producing a good that is virtually unbreakable. All these remarks are beautifully displayed in this film, which still remains the best statement on these subjects although it was made more than 60 years ago!! Probably, the film is even more revolutionary today (especially if you consider the idiotic remarks already commented on) than it was when it was made. See for yourself!!!

secondtake The Man in the White Suit (1951)A dry, wry, hilarious take on the idea that companies don't make their products too good because otherwise they'd never wear out. And you'd never need to buy more.Alec Guinness is the star here, a quirky scientist amidst lots of wonderfully quirky scientists all working on new fabrics and fibers. Guinness a kind of early Peter Sellers, but far more buttoned up. He plays the slightly bumbling everyman who has a gift for genius at the right times, and in this case it's a Cambridge drop out names Sydney Stratton who discovers a superfiber that can be used to make superfabric. The crisis of making clothes that don't wear out, and don't get dirty, never dawns on the scientist, but the workers, and capitalist leaders, and the poor old laundrywoman understand immediately what it means for them.Hence the comedy. It's a "delightful" comedy filled with easygoing laughs and general high spirits, but it really works in its innocence. The not-so-subtle commentary about social economics is part of the fun, and is especially British in its feel, though the ideas of work committees capitalist greed are not foreign to the rest of us. It might be almost odd to notice this, but the filming--the photography and lighting--is especially excellent. It's quite a beautiful black and white film.There are some familiar character actors here for those who have seen other post-War British films, none of whose names I know, though Joan Greenwood, playing the semi-romantic female lead, seems worth paying attention to for her strong presence. Director Alexander Mackendrick has a handful of good films to his credit, and you can only wish he had made more ("The Sweet Smell of Success" is his most famous). This is Guinness's movie, though, and by the final scenes of him running through the dark streets in his glowing white suit, well, that's just terrific old-school comedy, warm and funny and fast.