Classic Film Review: A Matter of Life and Death (1946)

A Matter of Life and Death tells the story of flyer Peter Carter (David Niven), a man who knows he's heading for death as his plane is going down and he has no parachute. He reports his situation to June (Kim Hunter), an American radio operator, and they spend a few moments talking before he bails out of the plane. Unfortunately, the conductor (Marius Goring) sent to escort him to heaven loses him in the fog and Carter finds himself instead on the beach where he reunites with June. When asked, he refuses to meekly carry on his journey to heaven and appeals against the date of his death. In the 'real' world Dr Reeves (Roger Livesey) tries to save him from the hallucinations but the matter will only be solved after the appeal.

Needless to say, this film certainly deserves its reputation. It's witty, intelligent and both lovingly acted and directed. David Niven, one of the most reliable leading men of the era for me, is excellent, never too melodramatic in a film that could easily stray too far along that spectrum. Equally, Kim Hunter is beautifully reserved as June, creating a love story that the audience wants to see succeed. In fact, perhaps the word to describe this film is 'quiet', though I mean it in the best possible sense. It's quietly wonderful and delicately assembled.

The use of black and white for the heaven sequences and vivid colour for the rest is an inspired decision, particularly when, towards the end, we then get the crossover between the two. The film also uses silence effectively when the conductor appears and freezes everything. Probably my favourite scene was between Carter and the conductor as they sit on the heavenly escalator discussing potential counsels for the defence, primarily because of the dialogue. You can see this film as an easy fantasy and enjoy it that way or you can really immerse yourself in the dialogue and live every word and historical reference.

Unquestionably, this is a film I'll watch again at some point - and no doubt more than once. A classic deserving of the title.

Classic Film Review: The Bishop's Wife (1947)

The Bishop's Wife stars Cary Grant as Dudley, an angel who answers a call from Bishop Henry Brougham (David Niven) who is desperate to arrange funding for his new cathedral. He has been grovelling to wealthy Mrs Hamilton (Gladys Cooper) who is adamant that her late husband's legacy should be immortalised in the building, however illogical that may seem. On the outskirts of this is the bishop's wife, Julia (Loretta Young). She and her daughter are frequently sidelined by Henry's myopic business head. Not only is he losing the devotion of his wife but his religion seems to be lacking too. Just what is Dudley here to fix and will he get too close to Julia?

This was a charming film, showcasing Grant as his best. He gets plenty of opportunities to deliver brilliant lines and react to them, bouncing well off all the cast, especially Elsa Lanchester as Matilda the maid. Apparently, the first intention was to have Niven playing the agent and Grant the bishop - switching them was genius. Niven's performance as the harried bishop is stiff and proper, perfectly in keeping with the role. It's difficult to see them the other way round. Loretta Young is good as Julia, contrasting her hopeless distraction at the beginning of the film with the way she comes alive when she meets Dudley. Also watch out for James Gleason in a small role as a taxi driver and Monty Woolley as Professor Wutheridge, an old friend of the Broughams who is foxed by Dudley. There's a particularly delightful scene involving an ever-replenishing glass played to just the right effect.

Obviously, it's a fluffy film. Set at Christmas, it has the undeniable air of that season around it with ice-skating, snow and shopping. However, it's still very pleasant, a nice little foray into the unreal. Cary Grant doesn't play Dudley as very different to the humans he helps, only all-knowing and with a sense of humour. The Bishop's Wife can't be easily categorised as a 'fantasy' film - it doesn't have the air of the fantastical hanging around it. Instead, it's a good light comedy about human nature and what you need over what you want.

Classic Film Review: Bachelor Mother (1939)

Bachelor Mother stars Ginger Rogers as sales clerk Polly Parish. She's finishing a temporary Christmas stint at a department store owned by J.B Merlin (Charles Coburn) and David Merlin (David Niven) and, when out searching for a new job, she finds a baby being abandoned at a foundling home. She picks it up and, when the door opens, she's presumed to be the mother. The home contact her boss and David is outraged at the prospect of this 'mother' giving up her child. He lets her keep her job if she'll take back the baby leaving Polly in a bit of a predicament.

I found this hilarious. Ginger Rogers comic timing never fails and she's outstanding opposite David Niven. She also gets to show off some of her dancing skills in a nice scene that involves David storming a dance hall with the baby to try and get her to take responsibility. There are some excellent moments including the New Year's Eve event where David recruits Polly as his date and tells everyone she's Swedish to save her from talking. The romance aspect is lovely but it's the comedy that wins out.

Charles Coburn's role enlarges as the film goes on and I really enjoyed his interactions with David Niven as father and son argued about the baby that Merlin Snr believes is his grandson. Misunderstandings galore but with a few heartfelt moments dropped in for good measure.

Of course, the attitudes which surround this film are out of date but it indulges in remarkably little condemnation either. The problem seems to be that Polly has abandoned 'her' baby, not that she had one in the first place. Worth a watch not only for the nice sparring between Polly and David but also for the cute interactions between Ginger Rogers and her minute co-star. Lovely scenes and an excellent romantic comedy all round.

Classic Film Review: The First of the Few (1942)

Also known as Spitfire, The First of the Few tells the story of R.J. Mitchell, the engineer best known for his development of the famous plane. It is half-fact and half-fiction, with some characters being amalgamated into one and some personal details changed. Released at the height of the war and approved by Winston Churchill, it was obviously a prime piece of British propaganda - but that doesn't stop it being a powerful film.

Leslie Howard, in his final film role, portrays R.J. Mitchell as a quintessentially British engineer, congenial but fiercely intelligent. He is joined by his friend and test-pilot Geoffrey Crisp (David Niven), who is a fictional character created from several real-life people. The film covers Mitchell's initial attempts to get a new competition plane off the ground then, after an encounter with Nazis in Germany, he devotes his life to creating a new type of war plane than will be effective enough to beat them in battle. The frame story is told by Crisp, meaning that an air battle can be shown at the end of the film - the natural result of Mitchell's work.

Because the story was so fresh, I'd imagine it was difficult for producers to delve completely into Mitchell's life. More to the point, they wouldn't have wanted to. That leaves the story a little light on motive and I think (I don't know) that the Germany scenes were included or enhanced to reflect this. There is more leeway with Crisp, who is a combination of people, and his frequent womanising provides some of the humour in what is essentially a dramatic film. His interactions with Mitchell's secretary, Miss Harper (Anne Firth), are very amusing. Rounding out the main cast as Diana Mitchell is Rosamund John and she fulfils the role of supportive wife very well.

The film jumps through time, as most biopics do, but it works as well as any of them. As a piece of wartime propaganda it is probably one of the best; as a dramatic film seen by a modern viewer it works almost as well. Niven is superb and this, as Howard's swansong, is a fitting remembrance.

Classic Film Review: Death on the Nile (1978)

This adaptation of Agatha Christie's novel certainly has a cast beyond compare. With all this talent on show you have to wonder whether the actual result will be disappointing under the weight of expectation. It isn't though: Death on the Nile is an excellent adaptation of an excellent mystery.

Belgian sleuth Hercule Poirot is played here for the first time by Peter Ustinov. Poirot is in Egypt about to take a trip down the Nile on the same boat as rich heiress, Linnet Ridgeway (Lois Chiles), who has gathered quite a few enemies through her lifetime. She has recently married Simon Doyle (Simon MacCorkindale) but stole him from his fiancée, Jacqueline (Mia Farrow). Jacqueline has decided to make their honeymoon hell, following them from place to place, even surprising them on top of a pyramid. Also on the boat are Mrs. Salome Otterbourne (Angela Lansbury) and her daughter Rosalie (Olivia Hussey) - Linnet is embroiled in a legal battle with romantic author Mrs Otterbourne after she made some defamatory remarks about her in print which makes enemies out of mother and daughter. There's also Mrs. Van Schuyler (Bette Davis), who has taken an interest in Linnet's pearls, and her companion Miss Bowers (Maggie Smith) who has an ancient grudge to settle with the Ridgeway family, whom she blames for her current dependent position. To round out the list there is Linnet's lawyer, Andrew Pennington (George Kennedy), who has been embezzling his client's funds and risks discovery now she's married; her maid, Louise (Jane Birkin), who has been seeking Linnet's permission to marry for years; Dr. Bessner (Jim Warden) who has been on the receiving end of slander by Linnet and socialist, Jim Ferguson, who believes she should be shot as a lesson to the 'others'. This makes for quite a list of motives when Linnet is killed and almost all of passengers had the opportunity. Poirot, with the help of Colonel Race (David Niven), sets out to discover the culprit but it isn't long before the bodies start piling up.

It could be said that this one takes a while to get going. The murder certainly doesn't happen immediately but this allows the viewer to grow intimate with the various suspects. The various introductions are well-paced, not overwhelming, and impart just enough information without overloading the audience. The writing is superb, which it should be given its origins, and the Egyptian scenery is absolutely breathtaking. You don't just get a formidable cast, you get it against the backdrop of some of the most majestic scenery in the world. Most of the cast getting on camels and donkeys was a sight to see also!

In all honesty, I think Angela Lansbury stole the show as drunk novelist Mrs. Otterbourne. If an actress draws your attention to her in every scene she's in, if she can play someone flamboyant to the point of invoking utter frustration in those around her and if she can scare David Niven's character just by dancing with him... Well, you've got a scene-stealer on your hands and that's no small feat alongside such an excellent cast. Bette Davis also has some stinging lines and her scenes with Maggie Smith (mainly in suits!) were pure gold. Their final exchange merits repeating: Mrs. Van Schulyer: "Come, Bowers, it's time to go, this place is beginning to resemble a mortuary." Miss Bowers: "Thank God you'll be in one yourself before too long you bloody old fossil!" Watching this film did nothing to dim my adoration of either Lansbury or Smith - in fact, it increased it which was damn difficult to achieve!

And what of Ustinov as Hercule Poirot? He was so perfect that he doesn't really merit discussion. He played  Poirot as he should be played - calculating, manipulative when necessary, amusing in his own way. There was nothing wrong with his performance, only his height. The moment where he faces off with a cobra in his bathroom is incredibly tense. That brings me to my final point: I was exceptionally impressed about how the directors weren't afraid to use silence when necessary. They seemed to accept that it ramped up the tension more than any words could. When an attempt is made on Linnet's life by a stone dropping from the top of some ruins, the viewer is alerted to what is going on by a silent look round at the suspects as they meander through the ruins then we're aware of someone climbing lots of stairs, only distinguishable by their breathing. This and the snake scene amongst others were perfect examples of how you don't need continuous noise to keep the audience on the edge of their seats - you just need something at stake. A perfect lesson to storytellers everywhere.