A Canterbury Tale (1944)

Directors:

Michael Powell
Emeric Pressburger

Writers:

Michael Powell (written by) &
Emeric Pressburger (written by)

Release Date:

21 January 1949 (USA)

Genre:

Comedy | Drama | Mystery | War

Tagline:

Four modern pilgrims in a story of today - yet away from war.

Plot:

A 'Land Girl', an American GI, and a British soldier find themselves together in a small Kent town on the road to Canterbury...

Plot Keywords:

Glue | Village | Magistrate | England | Soldier

Cast

Eric Portman	...	Thomas Colpeper, JP
Sheila Sim	...	Alison Smith
Dennis Price	...	Peter Gibbs
John Sweet	...	Bob Johnson (as Sergt. John Sweet U.S. Army)
Esmond Knight	...	Narrator (non-US versions) / Seven-Sisters Soldier / Village Idiot
Charles Hawtrey	...	Thomas Duckett
Hay Petrie	...	Woodcock
George Merritt	...	Ned Horton
Edward Rigby	...	Jim Horton
Freda Jackson	...	Prudence Honeywood
Betty Jardine	...	Fee Baker
Eliot Makeham	...	Organist
Harvey Golden	...	Sergt. Roczinsky
Leonard Smith	...	Leslie
James Tamsitt	...	Terry
David Todd	...	David
Beresford Egan	...	P.C. Ovenden
Anthony Holles	...	Sergt. Bassett (as Antony Holles)
Maude Lambert	...	Miss Grainger
Wallace Bosco	...	Man A.R.P. Worker (as Wally Bosco)
Charles Paton	...	Ernie Brooks
Jane Millican	...	Susanna Foster
John Slater	...	Sergt. Len
Michael Golden	...	Sergt. Smale
Graham Moffatt	...	Sergt. 'Stuffy'
Esma Cannon	...	Agnes
Mary Line	...	Leslie's Mother
Winifred Swaffer	...	Mrs. Horton
Michael Howard	...	Archie
Judith Furse	...	Dorothy Bird
Barbara Waring	...	Polly Finn
Jean Shepeard	...	Gwladys Swinton
Margaret Scudamore	...	Mrs. Colpeper
Joss Ambler	...	Police Inspector
Jessie James	...	Waitress
Kathleen Lucas	...	Passer-by
H.F. Maltby	...	Mr. Portal
Eric Maturin	...	Geoffrey's Father
Parry Jones Jr.	...	Arthur (as Parry Jones Jnr.)
rest of cast listed alphabetically:
Kim Hunter	...	Johnson's Girl (US release)
Raymond Massey	...	Narrator (US version) (voice)
Baby Alder	...	Baby (uncredited)
David Babcock	...	Boy in River Battle (uncredited)
W. Ballie	...	Pilgrim: The Friar (uncredited)
Mr. Bird	...	Pilgrim: The Shipman (uncredited)
Billy Bray	...	Pilgrim: Sergeant at Law (uncredited)
Les Brown	...	Boy in River Battle (uncredited)
Derek V. Browne	...	Boy in River Battle (uncredited)
Denis Bugden	...	Boy in River Battle Firing Canon (uncredited)
Donald Bugden	...	Boy in River Battle (uncredited)
Mr. Carter	...	Peasant (uncredited)
John Clark	...	Boy on Wall at Blacksmiths (uncredited)
Bill Clover	...	Bystander at Wheelwright's (uncredited)
George Curran	...	Bandmaster in Army Parade Entering Cathedral (uncredited)
Miss Dixon	...	Pilgrim: Second Nun (uncredited)
Mr. Dove	...	Peasant (uncredited)
Cliff Elvidge	...	Boy in River Battle (uncredited)
Roy Fisher	...	Boy in River Battle (uncredited)
Dean Fredericks	...	Bellringer at Church (uncredited)
T. Gilbert	...	Pilgrim: The Tapister (uncredited)
Mr. Gregory	...	Peasant (uncredited)
George Hall	...	Police Superintendent in Mayoral Procession Entering Cathedral (uncredited)
Mrs. Hendry	...	Peasant (uncredited)
Jim Holland	...	Boy in River Battle (uncredited)
Ben Horton	...	Bystander at Wheelwright's (uncredited)
Eric Horton	...	Bystander at Wheelwright's in Leather Jacket (uncredited)
Neville Horton	...	Bystander at Wheelwright's Working the Forge Bellows (uncredited)
A.W. Jennings	...	Pilgrim: Nun's Priest (uncredited)
G. Keeys	...	Peasant Girl (uncredited)
Dennis Kennett	...	Boy in River Battle (uncredited)
Dick Kerry	...	Boy in River Battle (uncredited)
M. Kirby	...	Pilgrim: The Dyer (uncredited)
R. Kirby	...	Pilgrim: The Manciple (uncredited)
Mr. Klaiber	...	Peasant (uncredited)
Victor Large	...	Pilgrim: The Ploughman (uncredited)
Charles Lefèvre	...	Alderman in Mayoral Procession Entering Cathedral (uncredited)
J. Lomas	...	Pilgrim: The Monk (uncredited)
Miss Marr	...	Peasant (uncredited)
Mike Martin	...	Carpenter in Wheelwright's Workshop (uncredited)
Jack May	...	Pilgrim: The Cook (uncredited)
H. Michael	...	Pilgrim: The Pardoner (uncredited)
George Miller	...	Pilgrim: The Reeve (uncredited)
G. Moore	...	Peasant Girl (uncredited)
Link Neal	...	Pilgrim: The Franklyn (uncredited)
A. Noble	...	Pilgrim: The Miller (uncredited)
Reg Pattenden	...	Drum Major in Army Parade Entering Cathedral (uncredited)
H. Pearce	...	Pilgrim: The Summoner (uncredited)
Ralph Poole	...	Pedlar (uncredited)
C. Pucinelli	...	Pilgrim: Squire's Yeoman (uncredited)
Sid Pullman	...	Drummer Boy and Bugler in Army Parade Entering Cathedral (uncredited)
J. Purchase	...	Pilgrim: The Weaver (uncredited)
Mila Raymanova	...	Pilgrim: Wife of Bath (uncredited)
Glyn Rowland	...	Pilgrim: Doctor of Physic (uncredited)
Vincent Russel	...	Pointing Policeman at West Gate, Canterbury (uncredited)
James Sadler	...	Pilgrim: The Squire and 1944 Soldier Watching Spitfire (uncredited)
Roy Samson	...	Boy in River Battle - Lookout (uncredited)
G.R. Schjelderup	...	Pilgrim: Chaucer (uncredited)
C. Semphill	...	Pilgrim: The Goldsmith (uncredited)
F. Sequin	...	Pilgrim: The Haberdasher (uncredited)
John Shuggs	...	Water Carrier (uncredited)
Martin Smith	...	Pilgrim: Clerk of Oxford (uncredited)
C. Spencer	...	Pilgrim: The Prioress (uncredited)
Mr. Stone	...	Peasant (uncredited)
Charlie Tamsitt	...	Boy in River Battle (uncredited)
Brian Todd	...	Boy in River Battle (uncredited)
Ben Tragett	...	Boy in River Battle (uncredited)
Robert Tragett	...	Boy in River Battle (uncredited)
Timothy Tragett	...	Boy in River Battle (uncredited)
H. Walter	...	Pilgrim: The Merchant (uncredited)
Eric Waters	...	Water Carrier (uncredited)
Billy Wells	...	Pilgrim: The Knight (uncredited)
William Wood	...	Bystander at Wheelwright's - Cleetus (uncredited)

Directed by
Michael Powell
Emeric Pressburger

Writing credits
Michael Powell		(written by) &
Emeric Pressburger		(written by)

Produced by
Jock Laurence	....	producer: additional scenes in US version
Michael Powell	....	producer
Emeric Pressburger	....	producer

Original Music by
Allan Gray

Cinematography by
Erwin Hillier		(photographed by)

Film Editing by
John Seabourne Sr.		(as John Seabourne)

Production Design by
Alfred Junge

Makeup Department
George Blackler	....	makeup artist (uncredited)
Ernest Gasser	....	assistant makeup artist (uncredited)
Hilda Sheardown-Course	....	hair stylist (uncredited)

Production Management
George Maynard	....	production manager

Second Unit Director or Assistant Director
George R. Busby	....	first assistant director (as George Busby)
George Aldersley	....	second assistant director (uncredited)
John Arnold	....	second assistant director (uncredited)
Parry Jones Jr.	....	third assistant director (uncredited)

Art Department
Harold Batchelor	....	construction manager (uncredited)
A. Hetherington	....	stand-by props (uncredited)
Arthur Hetherington	....	props (uncredited)
Harold Hurdell	....	draughtsman (uncredited)
Miss Johnstone	....	set dresser (uncredited)
William Kellner	....	draughtsman (uncredited)
William Leather	....	location constructor (uncredited)
Mike Martin	....	master carpenter (uncredited)
Frederick Morgan	....	stagehand (uncredited)
Harry Parr	....	buyer (uncredited)
Elliot Scott	....	draughtsman (uncredited)
Bill Shaw	....	stand-by carpenter (uncredited)
E. Thompson	....	property manager (uncredited)
Herbert Westbrook	....	draughtsman (uncredited)

Sound Department
C.C. Stevens	....	sound recordist: interiors
Alan Whatley	....	sound recordist: exteriors
L.A.C. Collic	....	boom operator (uncredited)
Peter Davies	....	sound camera (US version) (uncredited)
Roy Day	....	sound maintenance: exteriors (uncredited)
Desmond Dew	....	dubbing crew (uncredited)
Sidney Hayers	....	sound camera operator: exteriors (uncredited)
Sidney Hayers	....	sound maintenance: interiors (uncredited)
J.H. Kay	....	sound recordist (uncredited)
Gus Lloyd	....	assistant boom operator (uncredited)
P. Lloyd	....	assistant boom operator (uncredited)
Gordon K. McCallum	....	boom operator: interiors (uncredited)
George Paternoster	....	boom operator: exteriors (uncredited)
Winston Ryder	....	sound camera operator: interiors (uncredited)
J. Stirton	....	sound maintenance: interiors (uncredited)
Alan Thorne	....	sound assistant (uncredited)
Alan Whatley	....	dubbing crew (uncredited)

Visual Effects by
W. Percy Day	....	models (uncredited)
Charles Staffell	....	back projection (uncredited)

Camera and Electrical Department
Eric Besche	....	assistant camera (uncredited)
Jim Body	....	clapper loader (uncredited)
Derek V. Browne	....	camera loader (uncredited)
Cecil Cooney	....	camera operator (uncredited)
Fred Daniels	....	still photographer: portraits (uncredited)
J. Demaine	....	clapper loader (uncredited)
Desmond Dickinson	....	second camera operator (uncredited)
Ian Gibson-Smith	....	still photographer (uncredited)
William Leach	....	grip (uncredited)
E. Pockney	....	electrician (uncredited)
S. Shrimpton	....	clapper loader (uncredited)
George Stretton	....	second camera operator (uncredited)
A.G. Stunt	....	electrician (uncredited)

Casting Department
A. Raymond	....	casting: small parts and crowd (uncredited)

Costume and Wardrobe Department
Arthur Breton	....	wardrobe: men (uncredited)
Dorothy Edwards	....	wardrobe: women (uncredited)

Editorial Department
Roger Cherrill	....	second assistant editor (uncredited)
Jim Pople	....	second assistant editor (uncredited)
David Powell	....	first assistant editor (uncredited)

Music Department
Walter Goehr	....	conductor

Transportation Department
William Leather	....	driver: camera car (uncredited)
Bert Woodcock	....	driver (uncredited)

Other crew
Herbert Norris	....	period advisor
Jean Able	....	continuity assistant (uncredited)
Paddy Arnold	....	continuity (uncredited)
Sheila Bell	....	understudy: Sheila Sim (uncredited)
Betty Curtis	....	production company secretary (uncredited)
Walter R. Day	....	maintenance (uncredited)
Alex Devore	....	cashier (uncredited)
Parry Jones	....	production runner (uncredited)
C.W.R. Knight	....	falconer (uncredited)
Vivienne Knight	....	publicist (uncredited)
David Laing	....	understudy: Eric Portman (uncredited)
Joan Page	....	production company secretary (uncredited)
Bill Paton	....	assistant: Mr Powell (uncredited)
Harold Plaister	....	publicist (uncredited)
Pat Smith	....	production secretary (uncredited)
Anthony Swaine	....	liaison: Canterbury Cathedral (uncredited)

Production Companies

• Archers, The (as A Production of the Archers)
• Independent Producers

Distributors

• Eagle-Lion Films (1949) (USA) (theatrical)
• General Film Distributors (GFD) (1944) (UK) (theatrical)
• British Film Institute (BFI) (1991) (UK) (VHS)
• Carlton International (1996) (UK) (VHS)
• Carlton International (1999) (UK) (DVD)
• Criterion Collection, The (2006) (USA) (DVD)
• Divisa Home Video (2011) (Spain) (DVD)

Other Companies

• Citizens of Canterbury  thanks
• Dean and Chapter of Canterbury  gratefully acknowledge help & advice
• Mayor and Corporation of Canterbury  gratefully acknowledge help & advice
• Men and Women of Kent  thanks
• U.S. Army  gratefully acknowledge help & advice (as the United States Army)
• Very Reverend the Dean of St. Albans  gratefully acknowledge help & advice
• Women's Land Army  gratefully acknowledge help & advice

Also Known As:

Runtime:

124 min | USA:95 min

Country:

UK

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Recording)

Certification:

Australia:G | UK:U | Spain:7

Filming Locations:

Bridge over Little Stour, Wickhambreaux, Kent, England, UK

Company:

Archers, The

Trivia:

James Tamsitt had a haircut to make him look tidy before he went to London with Leonard Smith and David Todd to do some scenes at Denham Studio. But his new haircut didn't match the unruly mop he had in scenes filmed on location. So he had to wear a wig.

Goofs:

Errors made by characters (possibly deliberate errors by the filmmakers): Sgt Bob Johnson says that his father states that a crib made out of Lebonon Cedar, which is good enough for Soloman, is good enough for someone from Johnson County. Earlier Sgt. Johnson stated he was from Oregon. There is no Johnson County in Oregon.

Quotes:

Thomas Colpeper, JP:Pity.
Bob Johnson:Pity?
Thomas Colpeper, JP:Pity when you get home and people ask what you've seen in England and you say "Well I saw a movie in Salisbury. And I made a pilgrimage to Canterbury and I saw another one."
Bob Johnson:[laughs] You've got me all wrong. I know that in Canterbury I have to look out for a cathedral.
Thomas Colpeper, JP:Yes do look out for it. It's just behind the movie theatre. You can't miss it.

Movie Connections:

Featured in "Arena: A Pretty British Affair" (1981)

Soundtrack:

Commando Patrol

Charm (Scarecrow Staked Here: spoilers herein)

Although I've heard that Michael Powell chose, over a skirt-slashing Colpeper, to instead have him be The Glueman, his choice is, I think, serendipitous. The Glueman is not just the (superficially, as most post-modern critics mistake about him and about so many other characters in earlier films - about which more later) repressed sexual pervert Glueman, but he's also the Clueman. Yes, he's vaguely sinister, but he provides the glue that diverts the film's younger, war-preoccupied characters from their immediate concerns, and he suggests the clues that connect them to the heritage (some of us Yanks know the words of 'Land Of Hope And Glory' because England/Britain is undeniably, in many respects, our Mother Country) that has shaped them and made them who they are - and to the Civilization for which they're fighting.

Too many of today's critics obsess about the "Lesbian" farm woman whose character, in the 1940's, would have been ordinary and been regarded as being ordinary: a woman raised under the sterner discipline and mores of her day, with no-nonsense, no-b.s. values of virtue, obligation and hard work - and of getting to the point. It's postmodernists' affectation to automatically suspect doughty, matter-of-fact women characters - any eccentric women characters whom their postmodernist Miss Jean Brodie nonsense has bent them to suspect of fitting their screwy postmodernist (i.e., most often Marxisant, but often also Romantic) worldview - in earlier films of being "Lesbians." This woman is, consummately, a farmer who has to consider pragmatically what all farmers have always had to consider: how to smartly, efficiently work their land to its top yield against time and weather, pests and parasites, poachers and market conditions; there's nothing "Lesbian" about any of her singleminded agrarian pragmatism, or about her unremarkable - for her day - country ladies' sartorial choice, or even about her puffing a cigarette.

'A Canterbury Tale' isn't among the best of Powell & Pressburger's efforts; but it doesn't fall far short of their best. In a spot or two the plot plods, but then plodding was the pace of the Kentish countryside, so I think that it's only to our early third millennium sensibilities that it seems to plod. Seldom has black & white cinematography managed, as it manages here, to communicate through chiaroscuro the pilgrims' unease, and through the blessed splendor of sunlit, cloud-garlanded vistas of the Weald of Kent their respite.

As the Glueman strives to communicate the pace, sensibilities, and sensations of Chaucer's pilgrim's time, so too must we latter-day viewers accommodate our viewing of this film to the pace, sensibilities, and sensations of its period and setting: once we've done that - which demands of us no extraordinary effort - the legendary, enduring Powell & Pressburger magic works its spell.

From the outset I found Sergeant Sweet's unaffected acting well-suited to the storytelling. The Yanks whom Wartime Britons recall were probably more like Mike Roczinsky, yet among those "overpaid, overfed, oversexed, and over here" American "invaders," among all those "brown jobs," were young men quite like Sweet's Bob Johnson. Dennis Price's manner is a bit too aristocratic for his portrayal of a sergeant, but on the whole Price's thespian gifts help him to carry off his role very well. Sheila Sim gives a perfectly iconic portrayal of a young woman of her time: bereaved but not crushed; proud yet considerate; tender yet not mawkish; vulnerable yet capable. Eric Portman's Glueman is appropriately mysterious and mildly menacing and yet, in the ending we discover that he's all along been a benign agent of illumination, the neutral but never indifferent catalyst, the benevolent spur to the young people's sleuthing to know their present through their coming to touch their collective past; the Glueman is, if you think about his role in the narrative, rather God-like - or, if your prefer, rather Nature-like.

What's lovely about the dénouement here is that it enchants without indulging in sodden kitschiness, and indeed that it enchants in spite of of its scant kitschy elements. In the end the Glueman vanishes from the pilgrim's and our ken because he's accomplished his task of cluing and gluing the pilgrims to their past, to the mystical dimension of Being in their Own Time as that Being can only have come about by dint of their having touched their Past in their Present, which is the predicate of their harboring good hope for their Future. This message, to people whom wartime exigencies shifted brusquely about en masse as people had hitherto never shifted about, may have rung in 'A Canterbury Tale's' contemporary audiences a chord of sentimental longing and welcome reassurance.

This is a thoroughly English film best appreciated when one knows that Powell grew up in rural Kent and that he loved his home county's loveliness as only a native can and does love eternally his childhood home - and the verities it imparts early to him. In our present age of rapidly successive, plug-in and plug-out residential and professional transience - the first age of nigh-universal human rootlessness - 'A Canterbury Tale's' blessing is its acquainting us with our 1940's forebears' more permanent, more grounded sense of themselves and their place in the world and in time, a sense which they felt the war had put under threat and had hurled them and their world, willy-nilly, into unsettling uncertainty. It seems unlikely that we - our species - shall ever again know the quiet certainties, tranquility, and satisfaction of lifelong residence in, or near, our birthplaces. Until our time urgency meant for people something quite different from what urgency means for us. If people before our hyper-active, attention-deficited, more artificial time were not more "authentic," then they were certainly far less remote than we've become from Nature's cycles and temper.

'A Canterbury Tale's' charm is quiet, subtle, and in the end it's sensual, mystical, illuminating, and eternally dear. Pity that few have nowadays the time or the temper for such charm.