The Life & Deathof Colonel Blimp
(A- or 3.5/4 stars)
Made in 1943, but released in the U.S. in 1945, Michael Powell & Emeric Pressburger's warm-hearted, unique epic war drama 'The Life & Death of Colonel Blimp' is a gem of 1940s British cinema. This producing/directing/writing team use political cartoon strips as its starting point to paint a complex portrait of Gen. Clive Wynne-Candy (Roger Livesey), a 40+ yr. military officer; seen by some of his younger officers as an old, stodgy, red-nosed blowhard with a ridiculous walrus mustache with outdated ideas of what is required to win wars. But these young whippersnappers have no idea of his extensive background & vast military history, which shaped his outlooks & the man he is today ... including WHY he wears that oversized mustache.
This history includes a diplomatic wrangle over in Berlin over the German view of the Brit. military in the Boer War (1902). It includes his time in France during WWI + what he believes was the reason for the end of that particular war, and his need to re-invent himself once WWII rolls around. Candy is also shaped by his friendships with 4 people of note; one being lifelong friend Theo Kretschmar-Schuldorff (Anton Walbrook), a German officer/spy with whom he had an unfavorable initial meeting back in 1902. The other 3 are the women of his life: German-based English schoolteacher Edith Hunter, Red Cross nurse Barbara Wynne, & Angela Cannon, his driver during WWII -- all of whom played by Deborah Kerr {in her 1st major film}.
This is a very good film with great craft on display & some stellar performances. In a lovely, pinnacle-of-his career performance, Roger Livesey turns the blustering old officer into a trim, jovial, appealing character {nicknamed "Sugar" Candy} for the flashback scenes; reaching for affection & struggling to adapt his war style over the years. Deborah Kerr is alluring in all 3 roles as the women in Candy's life. And Anton Walbrook shocked wartime audiences - and then Prime Minister Churchill, who tried to suppress the film - by playing a 'good' German in this very British film. Laurence Olivier & Wendy Hiller were meant to star, but couldn't for varying reasons.
The film is exquisitely photographed by Georges Perinal & his two Technicolor cameramen, Jack Cardiff & Geoffrey Unsworth. Production designer Alfred Junge provides some stunning set pieces that vary from 1902-1943. And the make-up used to age Candy over 4 decades is astonishingly rendered. Filmmakers Powell & Pressburger meant to satire how completely out of touch the military was in fighting modern wars against ruthless enemies. As mentioned above, Churchill tried to block this film from being seen because he feared the Brits would be looked upon as too weak. But art is art. To me, Candy comes across as a high-minded man of principle; someone who thought that the killing of civilians was fruitless, and someone who did not write-off all Germans as barbarians. This film stands the test of time.
This history includes a diplomatic wrangle over in Berlin over the German view of the Brit. military in the Boer War (1902). It includes his time in France during WWI + what he believes was the reason for the end of that particular war, and his need to re-invent himself once WWII rolls around. Candy is also shaped by his friendships with 4 people of note; one being lifelong friend Theo Kretschmar-Schuldorff (Anton Walbrook), a German officer/spy with whom he had an unfavorable initial meeting back in 1902. The other 3 are the women of his life: German-based English schoolteacher Edith Hunter, Red Cross nurse Barbara Wynne, & Angela Cannon, his driver during WWII -- all of whom played by Deborah Kerr {in her 1st major film}.
This is a very good film with great craft on display & some stellar performances. In a lovely, pinnacle-of-his career performance, Roger Livesey turns the blustering old officer into a trim, jovial, appealing character {nicknamed "Sugar" Candy} for the flashback scenes; reaching for affection & struggling to adapt his war style over the years. Deborah Kerr is alluring in all 3 roles as the women in Candy's life. And Anton Walbrook shocked wartime audiences - and then Prime Minister Churchill, who tried to suppress the film - by playing a 'good' German in this very British film. Laurence Olivier & Wendy Hiller were meant to star, but couldn't for varying reasons.
The film is exquisitely photographed by Georges Perinal & his two Technicolor cameramen, Jack Cardiff & Geoffrey Unsworth. Production designer Alfred Junge provides some stunning set pieces that vary from 1902-1943. And the make-up used to age Candy over 4 decades is astonishingly rendered. Filmmakers Powell & Pressburger meant to satire how completely out of touch the military was in fighting modern wars against ruthless enemies. As mentioned above, Churchill tried to block this film from being seen because he feared the Brits would be looked upon as too weak. But art is art. To me, Candy comes across as a high-minded man of principle; someone who thought that the killing of civilians was fruitless, and someone who did not write-off all Germans as barbarians. This film stands the test of time.