Matt's Big Oscar Challenge Day 120: The Bette Quartet Part One

I can't believe it we're almost out of the 1940s now, only seven films to go and even more unbelievable four of them star Bette Davis. With that in mind I am going to try and watch all four of these Davis films back to back in a section I'm going to call the Bette Quartet and another strange thing is we're starting with another adaptation of a Somerset Maughn work - The Letter. In The Letter, Davis stars as Leslie Crosbie the wife of a rubber plantation manager who in the first scene shoots a man to death. As Davis' husband Robert and their lawyer friend Howard come to her house they discover the body belongs to Geoff Hammond a well-regarded member of the community. Leslie tells them that Hammond forced himself on her and when he wouldn't leave her alone she shot and killed him. Joyce's campaign to get Leslie out of jail is going well his investigation of Hammond reveals a secret marriage to one of the local Malay women and Leslie is behaving herself in prison. Then a letter comes to light that shows that Leslie asked Hammond to meet him on the night of his murder and in order to obtain it Leslie and Howard use Robert's money to buy it from his widow. From there the revelation of what really happened on that night comes to light and results in Leslie's true feelings coming to light and the death of one of the characters in the closing moments of the films.

What I liked most about The Letter was the simplicity of the plot. It all revolved around the one incident and the letter that could change it all. Of course anyone who knows Bette Davis and the roles she normally inhabits knows that her original story wouldn't be the true one however I felt that Davis wasn't as fully manipulative as she often is and Leslie prefers to weave than to go out and use her female wiles to manipulate. William Wyler again directs Bette and again falls out with her, here over a scene towards the end of the film involving Leslie and Robert each had different ideas about how the scene should play out with the director getting his own way and Bette walking out before coming back again claiming her ending would've still been better. Wyler is able to set the mood of the Malay Jungle superbly with Max Steiner's Oscar-nominated score adding to events and the lighting being one of the things that dominates the proceedings from the opening gunshot to the final death. Other than Davis the only cast member to be nominated for an Oscar was James Stephenson as Joyce the lawyer a definitive presence but he wasn't anything special and my favourite performance came from Gale Sondergaard as Hammond's local wife, she never says anything but her looks speak volumes and I think that is the mark of a great actress. As with all the Davis/Wyler colloborations this is fairly melodramatic but it is also very low key and simplistic and I very much enjoyed it and I suspect as the Bette Quartet goes on this will seem like a very tame movie in comparison to some of the other Davis creations.

Matt's Big Oscar Challenge Day 119: Constantly in Maughning

While reading some background around some of the films it seems that 1940s were dominated by a lot of the studio heads and their whims. In the case of the next film, 1947 nominee The Razor's Edge, Daryl F Zanuck then head of 20th Century Fox really wanted the rights to W. Somerset Maughn's work and paid over the odds to the author who was still alive. Casting was also a problem with Zanuck's first choice Tyrone Power still serving in the marines when the film begun, Zanuck had to use an extra for some of the scenes. Meanwhile Gene Tierney was Maughn's first choice for the female lead but Zanuck had hired Maureen O'Hara under the proviso that she didn't tell anyone she had the part when she told someone, she was fired and Tierney was hired. Directing duties were originally handed to George Cuckor but he also fell fowl of Zanuck and Edmund Goulding was hired. The story in The Razor's Edge sees Power's Larry and Tierney's Isobel from the end of the First World War to well into the 1930s. Engaged at the start of the film Larry wants to find himself and travels first to France and then to India where he finally finds peace among the monks. Meanwhile Isobel marries the dependable but dull Gray and has a couple of children, Gray becomes depressed after he loses his money in the Wall Street Crash but Larry uses techniques he learnt with the monks to get him better. Larry and Isobel's old friend Sophie also appears in the story she gets married then loses her family and starts drinking, Larry rehabilitates and her and they get engaged by Isobel is jealous of their relationship and gets Sophie drinking again before Sophie finally dies. Larry finally finds out about Isobel's part in Sophie's death and leaves her for good finally finding peace.

Overall The Razor's Edge had a good story of money vs. love, finding yourself and trying to get over a terrible incident. None of the characters were truly likeable and all had their baggage but at the same time they were all human they all had their own problems but none of them were true villains. There is also humour provided by Isobel's extravagant uncle Elliot, played by the Oscar nominated Clifton Webb, and dependability is provided by Maughn himself who becomes a character here played by Herbert Marshall. My personal favourite performance came from Anne Baxter who won an Oscar for Supporting Actress as the emotionally torn Isobel but Tierney was also good as the vindictive Isobel never quite happy after Larry leaves her and never really happy with Gray. Power is able to tie everything together with a strong lead performance and is able to give Larry a very personable side. I did find the film overly talky, having never read the book I don't know how close the adaptation was to the actual book but it seemed to be very wordy and if they did use the script that Maughn used as his adaptation I'm guessing he didn't want to leave a lot out. I did find it a tad long but it was an intriguing story slightly noirish and a bit of a road trip so I think overall Zanuck did get all the elements together worthy for a great movie that ultimately was one of the five films nominated for that year's Best Picture.

Matt's Big Oscar Challenge Day 118: Nothing to Do With the Four Tops

Over the past couple of weeks in the Oscar Challenge we've had a bit of a religious theme whether it be Bing Crosby's priest visiting a school run by nuns or David Niven's Bishop clashing with Cary Grant's Angel it's all been getting a bit too holy. So I was disheartened to learn that The Song of Bernadette was nothing to do with the 1967 Four Tops hit Bernadette, a bit impossible seeing that the film was nominated for Best Picture at the 1944 ceremony. The star Jennifer Jones also was one of the first to discover that if you play a character with an illness, firstly asthma and later cancer, your chance to win an Oscar is greatly increased. Jones' Bernadette is a young innocent who while gathering logs in a cave in Lourdes ends up seeing a vision of the Virgin Mary. Obviously most people don't believe her, her parents are embarrassed and want her to stop and the officials in Lourdes think that her supposed visions are doing adverse things for the town. The Town Officials are all seen as devious men as they all have ominous facial hair and are played by classical actors like Lee J Cobb and most notably a campy Vincent Price seemingly in a different film from everyone else. Eventually people start to believe her when a spring that Bernadette digs produces water that heals the residents and when the emperor uses it Bernadette is appeased. Her former headmaster suggests that she joins a convent where she comes face to face with her old teacher Sister Vazous who is jealous of Bernadette and wonders why the visions are coming to a girl who doesn't deserve rather than someone like her who has prayed and devote all her life. She feels shame when Bernadette is diagnosed and later dies from cancer of course after her death she was sainted and now everyone talks about the healing qualities of Lourdes.

If The Song of Bernadette were released today it would be seen as a traditional Oscar film. Featuring themes of faith vs. religion, a lead character who is a bit dopey and then suffers from cancer and various Americans pretending to be French and of course a true story this has everything that the Academy loves. But in the less cynical 1940s I think they might just have been taken with the sweet nature of the film and Jones' naive performance as Bernadette which won her the Oscar. To be fair Jones is good as the lead having to go from playing a 14 year old school girl to Bernadette at her death she is able to demonstrate her range. Elsewhere I think Gladys Cooper possibly deserved a Supporting Actress Oscar as Sister Vazous the angry nun who shows humanistic qualities also nominated for Oscars were Charles Bickford as her headmaster priest and Anne Revere as her mother although I just loved Price's town prosecutor maybe because he was so over-the-top. For me it was a little bit too long after a while I got the point that people didn't believe Bernadette and thought the second half of her life was rushed in comparison. The general tone of the thing was very much pro-religion presenting all the non-believers as comical villains and giving them no leeway whatsoever basically saying if you don't believe in God, then you're wrong. So if you can overcome this strong message then you might be able to enjoy some of the performances in the film but personally I'd just stick on the best of The Four Tops album on instead.

Matt's Big Oscar Challenge Day 117: Orson Keeps it in the Family

I think one of the biggest Oscar surprises is that Citizen Kane never won Best Picture and instead it went to John Ford's Welsh mining drama How Green Was My Valley. Welles' next film The Magnificent Ambersons also got a nomination but lost to Mrs Miniver. Unlike in Citizen Kane, Welles doesn't feature in the cast instead giving a fairly ominous voiceover telling us the story of The Ambersons an eccentric family who have all inherited money from the patriarch Major Amberson. The film mainly focuses on George, the spoilt grandson of Major Amberson and his objections to his mother marrying an automobile manufacturer after his father has died. The man in question is Joseph Cotten's Eugene Morgan who was George's mother Isabel's first love. George also falls in love with and gets engaged to George's daughter Lucy however the union is doomed when George's spoilt nature comes out and he reveals he doesn't want to work instead live of the family's fortunes which are dwindling. One of the main themes throughout the film is new money vs. old as the Ambersons fortune is generations old whereas Eugene has earned his money from his inventions. Eugene and Isobel are never allowed to be together as George takes his mother around Europe and then returns when she gets ill and later dies. However the future looks better for Lucy and George after George learns the error of his ways and decides to get a job and also reconcile with Eugene as the film ends.

Compared to Citizen Kane, The Maginifcent Ambersons isn't as big of a film but it still has that Wellsian style to it which is mainly seen during the scenes in the Ambersons grandiose mansion which is almost too big for its inhabitants. Possibly the best performance in the film, and the only one nominated for an Oscar, was from Agnes Moorhead as the Amberson's maiden aunt Fanny who seems a bit distressed that no-one ever finds her attractive and goes off on a rant near the end of the film in which she chastises George for never taking her seriously. Welles' long time friend Joseh Cotten is basically just a bit handsome and debonair as the inventor Eugene while Dolores Costello and Anne Baxter are fine in their roles but are never more than just token female parts maybe this is because Moorhead has such an interesting character it but the other actresses in the shade. One of the biggest problems of the film is that Tim Holt's George is just plain unlikeable so I have no sympathy for him even when he changes his ways at the end of the film I've already given up on him. Although the film did get another nomination for cinematography, there was no Best Director nod for Welles and indeed he was so poorly treated by the Academy that when they awarded him with a Special Award he refused to go and pick it up. Overall the Ambersons is a well-made film but one that suffers from a lack of likeable characters or a plot that flows particularly well.

Matt's Big Oscar Challenge Day 116: Keeping the British End Up

As we spirit towards the finish line of the 1940s its time for the last winner of that decade in William Wyler's Mrs Miniver. The film, like Blossoms in the Dust, stars Greer Garson and Walter Pidgeon as a happily married couple and parents to three children, two youngsters and a very upper-class lad called Vin who is off at university when the film begins. In fact Mrs Miniver is mostly about how normal families and indeed normal towns are affected by the war. So for example Vin leaves university to join the RAF meanwhile he also gets married to Carol the granddaughter of the snooty Lady Beldon. Mrs Miniver's husband Clem also agrees to volunteer the best way he can and helps in the Dunkirk evacuation. One of the most shocking parts of the film is where Mrs Miniver finds a German soldier in her house and is held at gunpoint until she provides him with food she then calmly phones the police and he is arrested. There is also a subplot involving a rose grown by the train station controller and named after Mrs Miniver which is entered in the flower show against Lady Beldon, who usually wins it. Beldon announces the winner and sees her name on the card but instead gives it to the station master and the Mrs Miniver rose as again war has changed her. The film though does have a tragic conclusion featuring the death of one of the major characters and a solemn message of the dangers and casualties of war.

For me Mrs Miniver is an odd beast and it doesn't feel like a winner in the way Gone with The Wind, Casablanca or even The Best Years of Our Lives did. One reason for that might be its awfully quaint and middle-class, the village that the Minivers inhabit is one in which everybody knows everybody else and its all lovely and cosy until those awful Nazis come along and ruin everything. I suppose one reason this may have won is because there was very little competition this year and also because it may've been the most accurate depiction of wartime yet. As well as Best Picture and Best Director for Wyler both Garson and Teresa Wright as Carol both won Oscars, again this wasn't my favourite Garson performance that was in Random Harvest but Wright is very good as the young girl married too soon and then having to contend with her new husband off fighting the war. Dame Mae Witty as Lady Beldon, Pidgeon as Clem and Henry Travers as Vin were also nominated and I like the fact that Travers actually later married his on screen mother Garson. There's nothing particularly wrong with Mrs Miniver it's a nice enough film but it just doesn't have anything about it to make a significant impact and make me believe that it should've won Best Picture.

Matt's Big Oscar Challenge Day 115: It's All a Bit Mental

A while ago I did a course about the use of institutions, such as prisons and hospitals, in films which focused mainly on mental hospitals. One film that didn't feature was The Snake Pit which was nominated at the 1949 ceremony featuring a top notch performance by Olivia De Havilland. We are plunged straight into the action as De Havilland's Virginia wonders about her surroundings and what she's doing in what she believes in a prison. It turns out that Virginia has been committed into a mental institution and her story is told in flashback firstly by her husband Robert and then by Virginia herself. We find out about how Robert and Virginia met and then about Virginia's past engagement and her relationship with her parents. These flashbacks are transposed by Virginia's journey through the mental instution at different times she is in the most extreme ward and at other times she is in the low security ward with its strict nursing. Again we are never given all the information and don't often find why Virginia is shifted around to various cells although we can usually guess due to watch leads up to it. All the time you are wondering about the other characters most notably Dr. Kik, Virginia's original doctor who at some times is asked not to treat her hinting at something darker in his past. Overall Virginia seemingly recovers but there is still something lurking in the background that you're not 100% sure.

Most of what works about The Snake Pit can be attributed to Olivia de Havilland who is absolutely brilliant in this film. Virginia is paranoid at some points, normal at others and she guides as through all the gaps in between and really makes us relate to her plight. De Havilland was nominated for Best Actress but lost out to the brilliant Jane Wyman in Johnny Belinda. De Havilland had previously put in a great performance in Hold Back the Dawn but this was much better however it would only be a year in which she triumphed in the same category. The story is also fairly clever cutting between time periods and different wards in the institution, Virginia's realisation and ultimate conclusion are both fairly neat and I felt the need for a neat wrap up after an interesting and thought-provoking film. The male characters also don't get a good rap although Robert seems nice enough and Dr Kik is seemingly a nice guy there's always the sense that they are manipulating Virginia. But overall this was a fantastic film that I'd never previously heard of but I'm so glad that I've seen and it would certainly suit the nature of the course I was on very well.

Matt's Big Oscar Challenge Day 114: Come Sail Away

The 1940s era are an odd mix of films it seems that going into the future we'll have a lot of big budget musicals that have won or have been nominated for the Best Picture Oscar. But back at the 1946 ceremony Hollywood was still in its infancy there were a few musicals around but on the whole they weren't as grandiose as they'd become in the next couple of decades. However that's not true of our next nominee - Anchors Aweigh which features two of the best song and dance men of all time in Gene Kelly and Frank Sinatra. The scant plot sees Kelly and Sinatra's two able seamen get granted four days leave from their naval duties and go off to Hollywood. Kelly's Joe wants to see his girl Lola but at the same time wants to help Sinatra's Clarence find love. Together they find a lost boy, Donald and when Clarence locks eyes on Donald's aunt Susan he falls for her and the pair make up a false appointment with a music producer so they can see her again. However through the course of events it is Joe who falls for Susan meanwhile Clarence meets a girl from his hometown of Brooklyn and starts to fall for her. As you can imagine there are lots of misunderstood glances, big musical numbers along the way and everything sort of working itself out by the final number.

I had already heard of Anchors Aweigh as it is the film that includes the iconic scene in which Gene Kelly dances with Jerry of Tom and Jerry fame. The reason why he does this still really didn't become apparent on watching the film however it seemed to be some sort of fantasy sequence that Joe was making up to impress a class of kids. Obviously I recognised the films titular track and the song 'I Know Susie' was also familiar but the film is packed with songs which in my opinion outweigh the plot and I found myself almost predicting when the next song would come along from the lines that were being spoken. Gene Kelly sort of holds the film together at the time Sinatra was still a nervous screen presence and Clarence doesn't really have a lot of oomph to him and Kathryn Grayson and Pamela Britton's love interests are both fairly thinly drawn and are just there to sing and fall in love with their respective partners. Its quite a jolly film and there's nothing particularly bad about it but personally I need a bit of meat in my musicals and I think I will get that as the Oscar Challenge goes into the next decade.

Matt's Big Oscar Challenge Day 113: Moors Moors Moors How Do You Like it?

So far we've seen Laurence Olivier as Shakespearian figureheads Henry V and Hamlet as well as the lead in an adaptation of Daphne Du Maurier's Rebecca and in the next film on the list he plays another literary antihero in Wuthering Heights' Heathcliff. For those unfamiliar with the tale, who unlike me didn't do it as part of their A-Level English Literature course, the story involves a love story on the Yorkshire Moors between Heathcliff a gypsy orphan bought to live at the large establishment of the title and Cathy the daughter of the family he's bought into. However many things come between them including the death of Cathy's father, the hatred towards Heathcliff from Cathy's brother Hindley and Cathy's love of the finer things in life when she meets the nice but dull Edgar Linton of the neighbouring house The Grange who Cathy ends up marrying. Heathcliff goes and returns later on to exact revenge on all that have wronged him by buying Wuthering Heights from a drunken Hindley and marrying Edgar's sister Isabella to get back at both Edgar and Cathy. However the book and film differ from there on out, in Emily Bronte's novel there is whole other section involving the children of Hindley, Heathcliff and Cathy but the film ends abruptly with Cathy's death and Heathcliff haunted by Kathy's ghost. The whole story is narrated by Wuthering Heights housekeeper Nelly to The Grange's new occupant Mr Lockwood but I found that the voiceover technique was lacking and Nelly's voice was often drowned out by the score or by other character's voices. The film ends, not with the uniting between Cathy and Hindley's children, but with the ghosts of Cathy and Heathcliff walking off hand in hand together. In fact it wasn't Olivier or Merle Oberon who played Cathy in this scene as both had moved on to other projects so body doubles had to be used in this final scene.

And this wasn't the only thing that went wrong with the film as nobody seemed to get on. Producer Samuel Goldwyn wanted the final scene while director William Wyler thought it would seem a bit tacky this is why the body doubles had to be used. Goldwyn claimed that this was his project and Wyler was simply the director however Wyler didn't really seem to get on with his cast. Wyler and Olivier constantly clashed because Wyler wanted Olivier to retake scenes again and again while Olivier and Oberon didn't get on either especially during their love scenes together as Olivier wanted his new love Vivien Leigh to star alongside him. Goldwyn hoped that this would be the vehicle to launch the then unknown Oberon but at that year's Oscars it was Leigh who would win Best Actress for Gone with the Wind while Oberon didn't even get a nomination. Personally I thought the best scenes in the film were the ones in which Cathy and Heathcliff clash as you can actually see the hatred between Oberon and Olivier in these scenes. Like in Hamlet, I felt Olivier was miscast here I just didn't feel the pain that Heathcliff is meant to have over never probably having Cathy. My two favourite performances came from Flora Robson as Nelly and again from David Niven as the put upon Edgar. As someone who knows the story fairly well I think I was put off by the fact that there were so many omissions in this film that it was disturbing to see the book dealt with in this way. I just hope that the people who watch this actually read the book as well or they may well think that Wuthering Heights as a happy ending, which Spoiler Alert: it doesn't.

Matt's Big Oscar Challenge Day 112: Heaven Must Be Missing an Angel

I remember when I was still at school and pulling a sicky I was allowed to rent a couple of videos from the local shop and one I chose was The Preacher's Wife starring Whitney Houston and Denzel Washington. As a 12 year old I didn't really get it and of course at the time I wasn't aware that it was a remake of a film nominated at the 1948 Oscars starring Cary Grant and David Niven. The Bishop's Wife tells the story of Henry Brougham a Bishop with a lot of things on his mind. He needs money to renovate the cathedral, he fears he is losing his parishioners and he is worried that his wife and child no longer love him. Loretta Young's Julia the titular wife is also having problems and seems to look glum wherever she goes. So Henry prays for divine intervention and gets it in the form of Dudley the Angel played by Cary Grant. Dudley is a hit with all around him, he convinces the wealthy Mrs.Hamilton to donate the cathedral funds to the poor, he gets the atheist Professor Wutherington to open up about how he lost his faith and he also puts a smile on Julia's face but he gets a bit too close to her for comfort. The only person who isn't happy when Dudley is around is Henry who feels that Dudley is trying to outplay him and trying to steal his wife and child from him. Obviously everybody learns lessons before the film ends and the film does tackle some interesting themes about faith, love and how much we take life for granted sometimes. The end of the film sees Henry and his family reunited with Dudley wiping all the memories of him away before leaving.

For me the one fatal flaw of The Bishop's Wife was that I really didn't sympathise or like Cary Grant's Dudley. I found at times he was abusing his position for his own good at one point stopping Henry from attending a carol concert with his wife and then taking her skating. Although he does end up putting things right I just did find him a little bit slimy for an angel and someone who had too much charm. David Niven was first choice to play the angel but when Grant came on board he was the bigger star so got his choice of roles and demanded to play Dudley. However that plays to Niven's advantage as I felt sympathy towards Henry and his lot in life trying to juggle family with the ferocious women of the parish. I found one scene between him and the always excellent Monty Wooley's Professor Wutherington to be fairly compelling where they talk about outer world beings and what they need to be happy in fact if one character changes the most for me it was Wutherington. Overall the ensemble cast, with the exception of Grant, probably make the film what it is with Young also doing what is needed of her which is mainly smiling and looking beautiful. It is nice to look at as well seeing the city all done up for Christmas but the finish is almost too neat as Dudley heads off once again. I really can't cast my mind back that far to remember if Whitney and Denzel did a better job but I can't imagine they did, they certainly didn't get an Oscar nomination that's for sure.

Matt's Big Oscar Challenge Day 111: Doing it For the Kids

There are some films on this list that I read the plot of and I instantly want to watch others I have to force myself and Blossoms in the Dust does definitely fall into the latter category. The film is based around the true story of Greer Garson's Edna and how she overcomes tragedy after tragedy to set up a successful home for orphans until they are rehoused into loving families. The story starts with Edna due to be married to the boorish Damon only for Walter Pidgeon's bank clerk Sam to whisk her off her feet. Meanwhile Edna's adopted sister Charlotte is due to marry her fiancée Allen but is stopped when it turns out that Charlotte was adopted by Edna's parents. Unable to marry the man of her dreams Charlotte commits suicide but that's not the end of Edna's worries. She barely survives giving birth to her daughter only for that daughter to wind up dying about five years later on. After finding out she can no longer have children Edna and Walter set up a home for rehousing orphans which is shut down after Edna upsets one of the more important ladies of the town and the couple up roots and move. Soon Walter takes ill and dies leaving Edna to fight her own battles including one with a lowlife man who wants to get some money from the wealthy couple who adopted his son and Edna also battles to remove the stigma from those children who get adopted so they can live a normal life and not end up like Charlotte. The film ends with Edna successful in her quest but still feeling lonely in life unable to form attachments to any of the children as she knows she won't be around all their lives. Her only constant throughout the film is Max, a doctor who befriends the couple and who is Edna's confidant after Sam dies.

There's really only so much one woman can go through and blimey did Edna go through it all - the death of her friend, her child and her husband not to mention not being able to have children again and being chased out of town. This was one hell of a woman and its nice for her to be recognised but at the same time I feel like the film was just too overly melodramatic for my liking. I do like Greer Garson as an actress, especially in Random Harvest a film she was not Oscar nominated for, but here she fights an uphill battle portraying a character who demands sympathy in every scene and can't seem to catch a break. Walter Pidgeon is fine as the charming caddish Sam but once he starts to get ill he also turns into a bit of wimp and starts talking in wistful terms. In fact my favourite characters in the film were Max the doctor and Zeke the couple's loveable servant who follows them all over the country. Unfortunately if this were released today I still reckon it would get its Oscar nomination because it's one of those dreary heartfelt dramas that Oscar love to acknowledge.

Matt's Big Oscar Challenge Day 110: Canadian Hideout

Of all the films they worked on together only two of the works from Michael Powell and Emeric Pressburger were nominated for an Oscar. The first, which I watched much earlier, was the classic The Red Shoes which has come to the forefront of the public knowledge after the recent release of Black Swan. However the second film is the lesser known 49th Parallel, a film that Powell made to try and convince the USA to join the war. 49th Parallel sees a German U-Boat crash on the Canadian shore and tracks the adventures of the six Nazi officers as they try to traverse the land and find a way back home. On the way they come across various stereotypical Canadian characters including a French Canadian trapper bizarrely depicted by Laurence Olivier, Leslie Howard's reclusive British intellectual and Raymond Massey's soldier who has gone AWOL and in the film's final scene stops Eric Portman's Hirth, the leader of the group, from entering the partisan USA and they both travel back towards Canada where Hirth will be arrested. There also a very long scene in a commune with East German farmers who are pacifistic and live together as a family. The Nazi gang don't understand how they don't have a leader or a secret handshake and instead live in harmony without having strict rules. One of their number even decides to stay only to be found guilty of desertion and killed by his so-called friends.

I'd never thought I'd compare a Powell and Pressburger film to an episode of South Park but that's before I'd seen 49th Parallel a film which resembles 'Christmas in Canada' where the four boys travel round Canada trying to find Kyle's brother Ike and during that time they run into a French Canadian, a Mountie and a Newfoundlander. All of these can be found in this film as can the Scottish Hudson Bayer played by Whisky Galore narrator Finlay Currie who enjoys playing chess over the radio. There are plenty of stereotypes in this film for example having Olivier playing a French Canadian was a mistake and I think the classical Brit actors who play the Nazis were a little too over the top. But it also an interesting film that Powell and Pressburger spent a lot of time working on and thinking about the motivations of the Nazi party. Having the Nazis as the main characters is almost a reverse road movie as they drop off one by one, some dying and others being handed into the police. But notably none of them are credited on the poster instead it is Olivier, Massey and Howard who have been given the lead roles of the three Howard impressed me the most as the character who outwits the Nazis who believe they have a superior intellect. I feel this may've been hailed as a classic if it had got the casting a bit better but as it is it feels a bit dated unlike some of the other P and P works  such as The Life and Death of Colonel Blimp and A Matter of Life and Death, neither of which were nominated which is a great shame.