A 'Land Girl', an American GI, and a British soldier find themselves together in a small Kent town on the road to Canterbury. The town is being plagued by a mysterious "glue-man", who pours... See full summary »
After opening a convent in the Himalayas, five nuns encounter conflict and tension - both with the natives and also within their own group - as they attempt to adapt to their remote, exotic surroundings.
Alexander Korda's bit for the British war effort shows the world both at peace and on the verge of Nazi domination. Spliced together to form a documentary style film of both newsreel and ... See full summary »
A 'Land Girl', an American GI, and a British soldier find themselves together in a small Kent town on the road to Canterbury. The town is being plagued by a mysterious "glue-man", who pours glue on the hair of girls dating soldiers after dark. The three attempt to track him down, and begin to have suspicions of the local magistrate, an eccentric figure with a strange, mystical vision of the history of England in general and Canterbury in particular. Written by
David Levene <D.S.Levene@durham.ac.uk>
Among the various books and pictures seen in Colpepper's sitting room is a photograph of the Shetland Island of Foula, the location of director Michael Powell's first acclaimed feature film The Edge of the World (1937). See more »
This is a multilayered, erudite, passionate exploration of England's national character. The route Powell and Pressburger take for this rather difficult task is to follow John Bunyan's 'Pilgrim's Progress'. During the second war a group of disparate people are thrown together one night at a deserted railway platform in Kent. Using a plot device of a mysterious, though harmless, assailant who preys upon women, P & P examines English country life, the Englishman's love for nature, the idisyncracies, the distrust of foreigners, the 'pubbing', the resilience, the faith in institutions (the church, the gentry), etc.
The scope of the movie is amazing, and in 2 hours it covers enormous ground. The entire thing is so skillfully and assuredly done that in spite of the absence of any stars and (almost) of a story, and the fact that John Bull is never my companion of choice in any desert island, I was riveted to this movie. Besides the acting, this effect was achieved also by Alfred Junge's brilliant art direction (I couldn't believe the Canterbury church was just a set) and William Hillier's black and white photography. Two scenes stand out - a bird 'turning into' an airplane signifying time going on ahead by a few centuries, and an armoured car breaking through bushes and undergrowth (a very 'Predator'-ish shot).
This is a must see.
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