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Gainsborough Films I 943- I 949

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Gainsborough Films I 943- I 949 Gainsborough films I 943- I 949 THE MAN IN GREY, 1943, i 16 min. lywood. En de voornaamste acteurs spre- ken een heldere, verstaanbare taal.' (Time, Prod.mij.: Gainsborough december 1945) Executive producer: Maurice Ostrer 'Toen ik de bioscoop verliet en over een Producer: Edward Black bijna verlaten Epsom High Street liep, pro- Regie: Leslie Arliss beerde ik of ik James Masons elegante drei- Scenario: Margaret Kennedy, Leslie Arliss, gende accent kon nadoen. Ik kreeg de hik. naar een roman van lady Eleanor Smith De volgende dag maakte ik één van de Camera: Arthur Crabtree meest vormende beslissingen van mijn le- Editor: R.E. Dearing ven. Ik leende 4 kledingbonnen van mijn Art director: Walter Murton moeder en kocht een grijze das. Zo werd ik, Kostuums: Elizabeth Haffenden vrolijk en wel. de 6 maanden erna zelfook Muziek: Cedric Mallabey, Louis Levy een Man in Grey.' (New Society, i 7 september Geluid: B.C. Sewell 1981) Met: Margaret Lockwood, James Mason, 'James Mason is een te goede acteur voor Phyllis Calvert, Stewart Granger zoiets, hij is constant in een pesthumeur, en je voelt met hem mee.' (W. Whitebait, New Een raamvertelling vanuit de tijd van de Statesman, 3 i juli 1943) Tweede Wereldoorlog naar de Regency-pe- node. Een lief aristocratisch meisje trouwt een brute Lord, die alleen een erfgenaam wil. Hij begint een verhouding met een ou- de schoolvriendin van haar die ze liefdevol bij hen heeft opgenomen. Deze wordt ver- liefd, maar Lord Rohan wil geen scheiding. Haar geliefde vertrekt naar West-Indië en haar schoolvriendin vermoordt haar. '...Britse terughoudendheid in de dialo- gen, en goede smaak in de hele produktie maken van The Man in Grey een minder pijnlijk melodrama dan veel van zijn Arneri- kaanse tegenhangers. De toonzetting is zacht, rijk en mooi; de Engelse landschap- pen zijn minder mistig en geloofwaardiger dan de bestudeerde reprodukties van Hol- Credits I I 7 FANNY BY GASLIGHT, 1944, 108 min. Amerikaanse titel: MAN OF EVIL Camera: Arthur Crabtree Prod.mij.: Gainsborough Editor: R.E. Dearing Executive producer: Maurice Ostrer Art director: John Bryan Producer: Edward Black Muziek: Cedric Mallaby, Louis Levy Regie: Anthony Asquith Geluid: B.C. Sewell Scenario: Doreen Montgomery, Aimee Met: Phyllis Calvert, James Mason, Wilfred Stuart, naar de roman van Michael Sadleir hwson, Stewart Granger, Jean Kent De onwettige dochter van een minister ziet de beste kans op succes voor de film in wordt gered van een wellustige Lord. zijn aantrekkingskracht voor vrouwen "om 'Volgens The Cinema "een levendige op- de hinten naar vrouwelijke zwakheden en eenvolging van de smarten van de heldin de duistere kant van seks". Ikzelfzou Fan- waaronder de moord op de stiefvader in ny By Gaslight willen beschrijven als een dronken genizie, opvoeding in een dubieu- film die alle kenmerken van galmend Victo- ze morele atmosfeer, het onwetend veroor- riaans melodrama in zich heek. Het ver- zaken van vaders zelfmoord, de opoffering schilt wel van de Lyceum-school in de ma- van haar geliefde voor zijn snobistische fa- nier waarop. Het is sober, het acteerwerk is milie en het veroorzaken van een duel terughouderid en Edward Blacks produktie waarin deze geliefde bijna het leven verliest. is tegelijk schilderachtig en realistisch (hoe- Doordringende emoties, krachtig drama.. ." wel iets van het losbandige origineel van De Daily Film Renter, aan de andere kant, Michael Sadleir is opgeofferd).' (Campbel vindt dit allemaal maar "vreedzaam". Die Dixon, Daily Telegraph) I I 8 Credits LOVE STORY, 1944, 113min. MADONNA OF THE SEVEN MOONS, 1944, i io min. Prod.mil.: Gainsborough Executive producer: Maurice Ostrer Prod.mij.: Gainsborough Producer: Harold Huth Executive producer: Maurice Osuer Regie: Leslie Arliss Producer: R.]. Minney Scenario: Leslie Arliss, Doreen Regie: Arthur Crabtree Montgomery, naar een kort verhaal van Scenario: Roland Pertwee, naar de roman J.W. Drawbell van Margery Lawrence Camera: Bernard Knowles Camera: Jack Cox Art director: John Bryan Editor: Lito Carruthers Editor: Charles Knort Art director: Andrew Mazzei Geluid: B.C. Sewell Muziek: Hans May, Louis Levy Kostuums: Elizabeth Haffenden Geluid: B.C. Sewell Muziek: 'Cornish Rhapsody' van Hubert Met: Phyllis Calvert, Stewart Granger, Bath, Louis Levy Patricia Roc, Peter Glenville, John Smart Met: Margaret Lockwood, Stewart Granger, Patricia Roc Het verhaal speelt in Italië. Een meisje wordt verkracht en later uitgehuwelijkt aan Een halfblinde piloot wordt verliefd op een een rijke oudere man. Ze lijdt aan hysteri- pianiste met een zwak hart. Zij is op sterven sche aanvallen en gaat een dubbelleven lei- na dood en wil zich opofferen om hem den: als vrome, kuise echtgenote en als zi- over te laten aan een andere, 'betere' geunerminnares van een juwelendiei: Als vrouw, die ook van hem houdt. ze verdwijnt gaat haar modem opgevoede 'Love Story is een gepaste filmversie van dochter naar haar op zoek. een ouderwetse novelle. Het is gemaakt, 'Dit is een erg zoenerig stuk, met de ge- het is sentimenteel en het doet je wrierne- stolen kus, de afgewezen kus, de moederlij- len in je fauteuil. Waarom, vraag ik me treu- ke kus, de vaderlijke kus, de vrome kus, de rig af, koos Gainsborough Pictures ervoor echtelijke kus, de gepassioneerde kus, de om dit te maken? Waarom selecteert Eagle jaloerse kus, de kus van de stervende, de zi- Lion dit voor verkoop in Amerika? We ho- geunerkus en de kus van het levendige jon- ren veel over de wenselijkheid om het alle- ge ding. Deze oefeningen zijn in een verhaal daagse Engelse leven in films te stoppen. gestopt over een Romeinse matrone die af Zou dit het resultaat kunnen zijn? Ga naar en toe ontspanning vindt door zich in het Love Story en vraag jezelf af of dit het leven leven van een Florentijnse nachtvlinder te is zoals jij het kent. Merk op dat alle perso- storten. Schizofrenie is echter niet genoeg. nen uit lagere klassen raar en lachwekkend we hebben ook nog een salonheld hand-in- zijn, dat alle vrouwelijke personages voor handschoen met een bende beurzensnij- mannen vechten en dat geen enkel karakter ders, een juwelenheler, een dievenkeuken, een zin vormt zoals jij en ik Engelse zinnen een ambassade en een vleugje Camaval.. .' horen vormen. Als Eagle Lion zijn zin krijgt (Sunday Times, I 7 december 19~) zullen deze poppen, gemarteld door hun nukken, over de hele wereld geaccepteerd worden als Engelse mannen en vrouwen.' (Time and Tide. 14oktober 1944) Credits I 19 THEY WERE SISTERS, 1944, I 15min Prod.mij.: Gainsborough Executive producer: Maurice Ostrer Producer: Harold Huth Regie: Arthur Crabtree Scenario: Roland Pertwee, naar de roman van Dorothy Whipple Camera: Jack Cox Art director: David Rawnsley Editor: Charles Knott Kostuums: Yvonne Caflin 'De stof; bekwaam geweven van tedere Muziek: Louis Levy, Hubert Bath maar substantiële draden, spiegelt de acties Geluid: B.C. Sewell van levende, hoewel niet altijd leuke, men- Met: Phyllis Calvert, James Mason, Hugh sen, en het naderen van het echte leven Sinclair, Anne Crawford, Peter Murray Hill, geeft het een enorme menselijke en vrou- Dulcie Gray welijke aantrekkingskracht. Veel families zullen veel van zichzelf terugvinden in de Drie zusters, een 'goede', een 'zelfzuchtige' geschakeerde gebeurtenissen en zullen zo- en een 'masochistische'. trouwen elk met wel lering als vermaak in de ervaring vin- de man die bij ze past. James Mason speelt den. De technische presentatie is eersteklas de sadist die zijn vrouw de dood indrijft. De en een smetteloze atmosfeer is niet de min- 'goede' zuster daagt hem voor het gerecht. ste van de vele attributen van de film.' Zelf heeft ze een kinderloos huwelijk en (Kinematograph Weekly) neemt ze de zorg op zich voor haar zusters kinderen. 'They Were Sisters herneemt voor mij precies de verveling van amateurtoneel. Geen zin wordt onafgemaakt gelaten, geen deur niet dichtgeslagen, geen hoofd niet ge- schud. In plaats van dat de camera terloops verborgen emoties ontdekt, behandelen al- le acteurs hem als een psychoanalist. "I know I am a bore", zegt de een. "No one understands me", verzucht de ander. En of ze nou snikken, tiranniseren ofhet gewoon aankunnen, de hele tijd wordt de schijn van alledaagsheid opgehouden. Bij de laatste snik zegt iemand trots: "All over England there are families just like ours". Ik bid dat ze ongelijk hebben en troost mezelfmet de gedachte dat dit 1938 was.' (Time and Tide) I 20 Credits A PLACE OF ONE'S OWN, i945,92 min. Prod.mij: Gainsborough Art director: John Elphick Executive producer: Maurice Ostrer Kostuums: Elizabeth Haffenden Producer: R.]. Minney Muziek: Louis Levy, Hubert Bath Regie: Bemard Knowles Pianomuziek: Chopins Preludes Scenario: Brock Williams, naar de roman nr. 4 en nr. 5, Opus 6 van Sir Osbert Sitwell Geluid: B.C. Sewell Camera: Stephen Dade Met: Margaret Lockwood. James Mason, Editor: Charles Knott Barbara Mullen, Dennis Price In de tijd van koning Edward V11 koopt een haal die noodzakelijk is in film heeft geen paar een spookhuis. De jonge vrouw raakt ruwheid in het verslag van bezetenheid ge- bezeten. bracht. Als het bezeten meisje geeft Marga- 'A Place of One's Own ... is dat aparte in ret Lockwood een goede voorstelling en de cinema, een griezelverhaal dat zich sim- het ouder paar dat hulpeloos bij haar te- pel en natuurlijk ontwikkelt zonder een be- loorgang toeziet wordt naar behoren ge- roep op het geweld van melodrama te speeld door James Mason en Barbara Mul- doen. Het verhaal over een huis waar het len ...' (Dilys Powell, The Sunday Times, 6 mei verleden nog leeft gaat voort met hinten, 1945) kleine veranderingen in de emotionele sfeer, de vage huivering van de onverklaar- Deze film was een van de weinige Gainsbo- bare angst; de vereenvoudiging van het ver- roughfilms die succes had bij de kritiek. Credits I 21 THE SEVENTH VEIL, 1945,94 min. THE WICKED LADY.
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