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Posted in The Life and Death of Colonel Blimp - Criterion Collection on 12/17/2009 08:17 am by codyhuffman1970 |
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How amazing it is to have this novel movie beautifully restored to its recent length and scene order by the British Film Institute.
Until about ten years ago, I had never seen this film. I had never rented the lop, reconfigured tape, because I didn’t consider I’d like the film (in any obtain) . But the L.A. County Museum of Art had an Archers’ retrospective several years ago that included the BFI restoration print. Despite many of there pictures being among my favorites, I unruffled belief I was in for a hoary WW II propaganda film. I could wander if I didn’t like it.
Was I ever sinful. I came out considering it among The Archers best works. which in my book, means one of the finest films ever.
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“The Life and Death of Colonel Blimp,” in the unique version, is a radiant mix of WW II propaganda, an often whimisical loving satire of the system. It is ultimately one of the most winning anti-war films ever. In a different design, as superior as “Great Illusion.”
This low-key tale begins with the Boer War, when Blimp is a young (too) gung-ho officer to the time the film was made–mid-war 1943. The cast is proper. Roger Livesey gives one of the best performances imaginable. Deborah Kerr (18) at the time, gives a tour-de-force performance as the three different women Blimp falls for in the 40-year span of the film. Anton Walbrook Is so radiant in this film. This man I am now convinced was one of the greatest actors of the 20th Century. His controversial character is a German officer Blimp befriends in the Boer War and they become life-time friends, with Blimp vouching for him being permitted to quit in England during WW II. Walbrook’s scene explaining why he has left Germany is as grand, if not greater than his curtain speech in “Red Shoes.” Most other actors would have turned this into maudlin sentimentality. Walbrook instead gave me a giant lump in my throat. I don’t lump easily.
If you’ve never seen the complete, uncut and untampered with film and are Archers devotee, this is the version for you.
Buy,Download, Or Stream The Life and Death of Colonel Blimp - Criterion Collection! Click Here
The extras are uniformly radiant. The commentary track with Martin Scorsesse and director Michael Powell, from a recording he made on first viewing the restored film, is consuming and perceptive. He sounds very worn and can be hard to understand because of it, but it is worth the extra disaster to hear him comment on one of his personal favorites.
There is also an advantageous half-hour or so documentary, that includes Emeric Pressburger’s grandson, that helps define why and how the film was tampered with and almost never seen as a result of Prime Minister Winston Churchill trying to ban it. No luck in England. J. Arthur Unfavorable released it in his English theatres and advertised “Examine The Banned Film.” And it was a vast hit. The “banned” got the initial audiences in, word-of-mouth made it the movie too peer. Winnie also failed in his attempts to discontinuance exportation to other countries.
One of the most incandescent, witty,serious, breathtakingingly splendid Technicolor films ever released.
Get this Criterion adore now. It also includes several Colonel Blimp “new” editorial cartoons, by Blimp creator David Indecent. Some are timely today and could bustle with the names changed to suit today’s political and military madness. The editorial cartoons were a revelation to me.
Archer Fans, order now and have a really complete collection of these recent gems.
The chap from England, below, is absolutey, good.
Buy,Download, Or Stream The Life and Death of Colonel Blimp - Criterion Collection! Click Here
This and “A Matter of Life and Death” are Powell & Presberger’s masterpieces, before they descended into the schmalz of “The Red Shoes”. The yarn of the essentially decent British and German gentlemen, played by Roger Livesey and Anton Walbrook respectively, quickly becoming dinosaurs in the changing Europe between the Boer War and the Blitz, yet clinging to their values despite being kicked in the face by the brutalisation of Germany and by the consequent brutalisation of a Britain attempting to survive against barbarism. Their friendship begins from the mutual respect engendered by a duel fought reluctantly for the honour of their respective traditions at the time of the Boer War. During convalescence they vie for the hand of Deborah Kerr, turning up in the first of 3 roles. Livesey’s shyness leaves Walbrook holding the field. Nearly 20 years pass until they meet again, at a POW camp in Britain. Livesey’s principal naivete rides roughshod over the wartime enmity, but Walbrook’s response is ambivalent, and the reunion is short-lived and bittersweet. Livesey marries Deborah Kerr’s reincarnation as a nurse, because of a resemlance to his first care for. A further 20 years pass. Livesey, widowed, is asked to act as sponsor for Walbrook, now exiled from Germany, also widowed and estranged from his Nazi children. Together they reach to terms with their sidelining in a world of younger men with few of the traditional values. Deborah Kerr turns up for the third time as Livesey’s driver as he moves from army officer to Home Guard organiser,refusing to be pushed out of the fight. In appearance Livesey’s character assumes the appearaqnce of David Low’s cartoon Colonel Blimp, but underneath he is more rounded; decent,suited to and proper to friends, dreary to denegrate his foes and totally patriotic, but finally nobody’s fool. John Laurie appears in a palatable cameo as Livesey’s batman/manservant, crusty but trusty. His boss may occasionally arouse and perlex, but Laurie recognises the basic decency, as, finally, all do who reach into contact with him. It may be propaganda, but it is tranquil sparkling.
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