Tuesday, 7 April 2015


Yesterday’s Enemy (1959)
"The British don't do things like that."
Stanley Baker & Wolf Morris
Although Hammer are best known for their production of Gothic horrors, readers of this blog will know that it was within the rest of their output that the company’s most interesting and challenging films can be found. Ok, I’m deliberately avoiding mention of Mutiny on the Buses, but Taste of Fear, The Nanny, Paranoiac and Hell is a City are all notable films. And now, I would add to that list Yesterday’s Enemy.
Stanley Baker
The film started life as a controversial BBC television play which the author, Peter Newman, claimed was based on an incident that took place during the British retreat through Burma in 1942. Stanley Baker plays Captain Langford ...
Stanley Baker
... an officer in command of the survivors of a Brigade headquarters. He carries the burden of getting the men, including the wounded Brigadier (Russell Waters) back to the British lines.
Russell Waters
 Langford is forced to make difficult decisions after the group encounters civilians in a Burmese village occupied by Japanese soldiers. Finding a vitally important map showing Japanese positions, the captain is forced to confront the question of whether it is right to abuse prisoners and murder civilians – effectively committing war crimes – in order to decode the map and potentially save hundreds – if not thousands – of British lives? This brings him into open conflict with some of his fellow officers and does not shy away from showing the inner turmoil his decisions bring, both for himself and for the soldiers under his command.

 
Produced in 1959, at a time when both the British and American film industries were routinely producing films portraying the glories of war, Yesterday’s Enemy is a drama that confronts serious issues about the things soldiers are forced to do in wartime. It challenges the notion of the British as the ‘good guys’, showing both the British and the Japanese resorting to the same methods in order to achieve their aims. It also challenges British history, acknowledging crimes committed in the name of the British Empire. The anti-war message doesn’t stop there, with Stanley Baker’s Captain Langford challenging the views of the Padre (Guy Rolfe) and a war correspondent (Leo McKern) who both seem to approve of war but who don’t want to see its realities first hand. As Captain Langford tells them: "Don't you preach at me, if you want  help enlist God's aid ... You don't mind when a bomber pilot pushes a button and kills a few hundred civilians. You don't mind murder from a distance, so long as you personally are not involved."
Guy Rolfe

Leo McKern
The film's subject is as dark and bleak as what we see on the screen: there is no beauty in this jungle. Instead it's a place where daylight hardly penetrates through the damp and claustrophobic canopy of trees that hangs over them.
Gordon Jackson & David Lodge
Though filmed entirely within a studio that recreated jungle streams, thick foliage and a Burmese village, this small-scale drama effectively lets you know that ‘war is hell’ without resorting to Wagner, helicopter rides, pyrotechnics and a budget even bigger than the mumbling star’s belly. The message is not necessarily anti-war but forces the viewer to confront their understanding of where war takes a man. Effectively it’s a ‘soldiers’ film – one about fighting men who are real people rather than the caricatured heroes of Hollywood. Heroism is depicted as sometimes being stupid and cowardice – whatever that means – is examined as a natural human reaction. These are men who face a firing squad, not with defiance on their faces but with fear – and tears – in their eyes. Religion also comes under scrutiny, with its moralities and formalities being shown as luxuries that have to abandoned by the fighting man. As Captain Langford tells his sergeant (Gordon Jackson): "My concern is the living not the dead."
Gordon Jackson & Stanley Baker

From its opening, the sound of a scream – that sounds human but is actually a parrot – to the final off-screen execution of the British soldiers, it was a film the director Val Guest was openly – and quite rightly – proud of.

The film includes a notable and familiar supporting cast, including:
Gordon Jackson:
Bryan Forbes:
David Lodge
 
Percy Herbert

Burt Kwouk

Richard Pasco

This is a film that should be watched by all those with an interest in war films, especially those jaded by the unrealistic, glory hunting epics that surged out of Hollywood in the post-war years. It is currently available on DVD:




 

Sunday, 5 April 2015

The Man Who Finally Died (1962)
Nigel Green & Stanley Baker
Here's a rather odd film: what is it?
 
As I watched at first I thought it a spy drama, then I thought this is going to be about Nazi war criminals on the run - a sort of British Odessa File. Hang on, is it back to a spy thriller? Or is it an insurance fraud thriller? Wait a moment, we're back to the Cold War. This is getting confusing!
 
OK, let's get back to what we know - or at least, what I'm going to tell you because there's no way I'm revealing the ending, if you want to know that you'll have to watch it.
 
It starts in typical spy-drama circumstances: just like in an Eric Ambler novel, the central character finds himself unwittingly thrown into an international mystery that he seems fated not to escape from. So typically, he is a fish-out-of-water ...
Stanley Baker
... in this case a dark-glasses wearing, casually corduroy jacketed jazz musician adrift in small town Germany. It a curious peaceful version of Germany, yet bubbling under the surface are the ghosts of a war that had ended just 17 years earlier. As one character puts it: "Beneath the shining chromium and neon light the pain is still there."
 
Stanley Baker is the unlikely son a German officer who died in the war after Baker had been sent to live in the UK. Except that fifteen years later dad appears to have died again. When Baker receives this curious news he returns home to search for the truth. Except that no one wants him to know the truth. Not his father's most-recent wife ...
Mai Zetterling
... nor his old friend ...
Peter Cushing
... the local police ...
Nigel Green

Eric Portman
... the undertaker ...
Brian Wilde
... a mysterious insurance agent ...
Niall MacGinnis
... or even his old nanny:
Barbara Everest
It's a slightly dissatisfying film: the viewer feels cheated that eventually the story seems to drag their sympathies towards some unsavoury characters. Perhaps this simply reflects the post-war, Cold War, realities of the western powers having to accept former lower-level Nazis. Yet there is a darker side: what is the truth about Baker's father? And, in particular, what kind of man was Peter Cushing's character? What crimes had he committed? We are left with these doubts unresolved. Maybe that was pertinent in 1962, but for the modern viewer, more doubts remain.
 
Out of interest, whilst many scenes were filmed in Germany, others were shot in the UK. Here we see Baker visit his father's grave, supposedly in Germany but actually in Highgate cemetery. Here we see him outside the entrance to the Egyptian Avenue:
 
This earlier view is from Highgate cemetery's official website:
 
And when he visits Peter Cushing it is amidst the Gothic splendour of Oakley Court, just outside Windsor (a location most famous for its appearances in a number of Hammer films):

Here's a similar view from Oakley Court's website:



 
You can still see these statues outside the entrance to the hotel:
 
 
 
 
They Were Sisters (1945)
Dulcie Gray, Anne Crawford & Phyllis Calvert
They Were Sisters is the story of three sisters, the sensible one Lucy (Phyllis Calvert), the rather quiet one Charlotte (Dulcie Gray) and the bad girl Vera (Anne Crawford). Right from the opening scene we get to learn about their differing characters when we get to see them getting dressed. The film opens with a view of Crawford's legs as she fixes her stockings:
Anne Crawford

Anne Crawford
Then we are introduced to her sisters ... 
Anne Crawford & Dulcie Gray

Phyllis Calvert & Anne Crawford
... Gray's rather modest outfit and Calvert's sensible dressing gown are contrasted with Crawford's racier outfit to tell us all we need to know about their contrasting characters. It's a simple device that saves minutes of screen time meaning they hardly have to speak to introduce themselves. And, as regular readers of this blog will know, British film makers of the period loved a chance to get their female leads to parade around in their underwear.
 
Their contrasting characters are also reflected in their choice of husbands: Lucy marries a nice respectable architect (Peter Murray Hill, Calvert's real life husband) ...
Phyllis Calvert & Peter Murray-Hill
... whilst Vera marries Brian (Barry Livesey) ...
Barry Livesey & Anne Crawford
...who she doesn't love but who keeps her in a comfortable life so she can spend time with her various lovers:
Anne Crawford & Hugh Sinclair
However, the meek and mild Charlotte makes a rather poor choice and marries Geoffrey (James Mason) ...
James Mason

James Mason & Dulcie Gray
... a man who only wants her because he can exploit her good nature and enforce his iron will upon her. It's a terrible relationship that her sisters know will only lead to disaster and which soon sees her turning to drink:
Dulcie Gray
 
This being a Gainsborough film, with James Mason as the male lead, you know that things are going to turn out bad for someone. Of course, had Stewart Granger have been cast instead of Peter Murray-Hill then the script  would have needed to be re-written to allow Granger to confront Mason in an epic fight - that would probably have ended with them bare chested and dripping in blood - but no such luck. Instead, revenge for Mason's deeds comes in a quieter form.
 
It's hardly the most exciting film ever made but is entertaining in it's own way. In a curious casting choice, Pamela Kellino plays the daughter of Dulcie Gray and James Mason ...
James Mason & Pamela Kellino

James Mason, Pamela Kellino and Dulcie Gray
... this is despite Kellino being just one year younger than Gray and seven years younger than Mason. Not only that, but Kellino was actually married to Mason at the time. It is also worth noting that she was born Pamela Ostrer, her break into films no doubt coming from her family's ownership of Gainsborough Studios. She was the mother of Morgan Mason who married the pop singer Belinda Carlisle.
 
With the film starting in 1919, before the action moving on to the 1930s, it was interesting to see how the film costumed the male actors. Rather than attempting to dress them in period costume, for the scenes set in 1919 they are simply given 1940s suits but wear stiff collars and boater hats to give it a period flavour. In particular, the 1940s cut of the suit can be clearly seen in the broad, padded shoulders of Mason's suit:
Peter Murray Hill

Barry Livesey

James Mason

James Mason
 
P.S. Also look out for a very young Thorley Walters:
Thorley Walters
 
Currently available as part of the 'Best of British' DVD range: