It's easy to like this charming, unpretentious film in which Alec Guinness's restrained performance hits all the right notes. His fine work during the early 50's is unfortunately overshadowed by the public's identification with him in such big budget productions as The Bridge Over the River Kwai and Lawrence of Arabia. It's the "small movies" like this one (The Lady Killers, The Last Holiday, The Captain's Paradise and Man in the White Suit also come to mind) where we see his real skill and genius. The Card is enhanced by the appealing characters played by Glynis Johns and Valerie Hobson. Fans will also recall Hobson in another Guinness film, Kind Hearts and Coronets. One bit of puzzling trivia: How did Eric Ambler, known mostly for his espionage novels and, later, for Topkapi, come to write the screenplay for this gentle comedy?....
41 Reviews
Machin - what a card!
didi-520 January 2007
A classic Alec Guinness performance, in this case as Denry Machin, a man who sees opportunity around every corner. Typified by his line 'I just do this to make money', Machin is likable as he sets up his 'Thrift Club' to entice locals into giving him money so he can purchase goods at a huge discount.
One of the first entrepreneurs, Machin is a lovable rogue and his story is a fun one to watch. A great British classic which showcases Guinness (one of our best actors) alongside British movie luminaries Glynis Johns, Valerie Hobson, and Petula Clark.
Much later this story was made into a musical, but sadly that has never yet been filmed. It will be fascinating if that ever makes it to the screen.
One of the first entrepreneurs, Machin is a lovable rogue and his story is a fun one to watch. A great British classic which showcases Guinness (one of our best actors) alongside British movie luminaries Glynis Johns, Valerie Hobson, and Petula Clark.
Much later this story was made into a musical, but sadly that has never yet been filmed. It will be fascinating if that ever makes it to the screen.
Up The Ladder Of Success
bkoganbing9 April 2009
The Card must have been an interesting if somewhat painful film for Alec Guinness to make. This might have been the most autobiographical piece of work Guinness ever did.
In The Card Guinness plays the son of washerwoman who learned early on to keep an eye out for the main chance and always strive to improve yourself by whatever means. In real life Guinness's mother should only have been a washerwoman In fact she was a prostitute who never married his father, whomever that could have been. In real life Guinness overcame bigger obstacles than his character in The Card ever did.
But I'm sure he drew from real life in playing Denny Machin. Guinness in 91 minutes goes from a humble clerk to a position of real power in his area of England. The story is how he did it, the legal and extralegal methods employed and the people he used. When you think about it, The Card is a kinder, gentler version of Room At The Top.
Guinness courts two women on his way up, Valerie Hobson the widow of a local lord and dancing instructor Glynis Johns. Glynis is quite the climber herself as we learn when the story unfolds. In fact she nearly steals the film from Guinness, no easy task.
The Card which was released in the USA under the title of The Promoter is a good followup to such other Guinness everyman roles like he had in The Lavendar Hill Mob. The screenplay is quite good, I was kept very entertained seeing how Guinness could always make lemonade out of lemons. Definitely required viewing for Alec Guinness's legion of fans.
In The Card Guinness plays the son of washerwoman who learned early on to keep an eye out for the main chance and always strive to improve yourself by whatever means. In real life Guinness's mother should only have been a washerwoman In fact she was a prostitute who never married his father, whomever that could have been. In real life Guinness overcame bigger obstacles than his character in The Card ever did.
But I'm sure he drew from real life in playing Denny Machin. Guinness in 91 minutes goes from a humble clerk to a position of real power in his area of England. The story is how he did it, the legal and extralegal methods employed and the people he used. When you think about it, The Card is a kinder, gentler version of Room At The Top.
Guinness courts two women on his way up, Valerie Hobson the widow of a local lord and dancing instructor Glynis Johns. Glynis is quite the climber herself as we learn when the story unfolds. In fact she nearly steals the film from Guinness, no easy task.
The Card which was released in the USA under the title of The Promoter is a good followup to such other Guinness everyman roles like he had in The Lavendar Hill Mob. The screenplay is quite good, I was kept very entertained seeing how Guinness could always make lemonade out of lemons. Definitely required viewing for Alec Guinness's legion of fans.
A classic British comedy; one the very best.
bruce-13826 April 2002
A classic Alec Guinness, as the young man from the lower class who wants to move up in the world, and does, because he has the courage to go for it. In one scene his boss tells him off (not an exact quote), "So, you fancy yourself being with your betters, do you?" The cheeky reply is "Yes, don't you?"
The best line is when his assistant brings him a pile of money collected from his latest enterprise, and comments that it seems a lot of money for doing nothing. The response is: "But I did do something; I thought of it."
This is a funny, thoughtful, social commentary, with a great look at both the lower and upper classes.
The best line is when his assistant brings him a pile of money collected from his latest enterprise, and comments that it seems a lot of money for doing nothing. The response is: "But I did do something; I thought of it."
This is a funny, thoughtful, social commentary, with a great look at both the lower and upper classes.
Enjoyable English post war comedy.
khunkrumark6 October 2017
'The Card' was just what war-worn Britain needed in the early fifties. This innocent, cheeky and humorous talkie would have had the cheap seats in fits!
Alec Guinness plays Edward Henry 'Denry' Machin, a young ambitious chancer who is just about likable enough to get away with the stunts he pulls on his way up the ladder of social and business success. He pounces on each and every opportunity and risks everything he has... and each venture seems to work out very well.
Edward is a very 'English' working class hero and is the sum of many parts. There's some Charlie Chaplin, some Arthur Askey and even some George Cole in the mix. At first, he seems to be rather effete and almost effeminate... he's definitely a mother's boy, though his stubborn mother wouldn't know it!
The story is buoyed by a mass of top class British talent. Already famous Petula Clark plays Nellie but she's always in the shadow of the magnificent Glynis Johns. Her blistering on screen feline sexuality is just pure magic.
Edward Chapman plays a jealous adversary. Chapman was an extraordinarily busy actor throughout his long career but is probably best remembered for playing opposite Norman Wisdom as Mr Grimsdale.
Joan Hickson shows up as a dissatisfied and grouchy property owner. She went on to find her greatest professional success towards the end of her life playing Miss Marple in the best of any Agatha Christie series ever made... in my humble opinion!
Towards the end, there's even a beautiful cameo by Wilfrid Hyde-White. And there are a lot more names for 'spotters' to enjoy, too.
The story is mostly good-natured silliness with no real plot to think about and there are some great outdoor shots of post-war England for good measure.
At this time of writing (2017), there's a good copy of this available to watch on YouTube... so do yourself a favour... unwrap that choc-ice and get over there!
Alec Guinness plays Edward Henry 'Denry' Machin, a young ambitious chancer who is just about likable enough to get away with the stunts he pulls on his way up the ladder of social and business success. He pounces on each and every opportunity and risks everything he has... and each venture seems to work out very well.
Edward is a very 'English' working class hero and is the sum of many parts. There's some Charlie Chaplin, some Arthur Askey and even some George Cole in the mix. At first, he seems to be rather effete and almost effeminate... he's definitely a mother's boy, though his stubborn mother wouldn't know it!
The story is buoyed by a mass of top class British talent. Already famous Petula Clark plays Nellie but she's always in the shadow of the magnificent Glynis Johns. Her blistering on screen feline sexuality is just pure magic.
Edward Chapman plays a jealous adversary. Chapman was an extraordinarily busy actor throughout his long career but is probably best remembered for playing opposite Norman Wisdom as Mr Grimsdale.
Joan Hickson shows up as a dissatisfied and grouchy property owner. She went on to find her greatest professional success towards the end of her life playing Miss Marple in the best of any Agatha Christie series ever made... in my humble opinion!
Towards the end, there's even a beautiful cameo by Wilfrid Hyde-White. And there are a lot more names for 'spotters' to enjoy, too.
The story is mostly good-natured silliness with no real plot to think about and there are some great outdoor shots of post-war England for good measure.
At this time of writing (2017), there's a good copy of this available to watch on YouTube... so do yourself a favour... unwrap that choc-ice and get over there!
Anything with Guinness in it is worth seeing...
planktonrules15 November 2011
Warning: Spoilers
This is a decent film--not a great one. But, because it has such lovely acting, I was able to overlook the fact that the writing could have been a bit better. After all, compared to other Alec Guinness films this one is pretty ordinary--but it's STILL an Alec Guinness film--which says a lot.
Guinness plays a humble clerk who through a lot of drive, determination and conniving, he's able to quickly get ahead in life. He isn't necessarily a bad man--just an amazing opportunist--sort of like a British version of "How to Succeed in Business Without Even Trying" set around 1900...but with less comedy. In fact, the lack of comedy is the film's weakest point. While it has a few droll moments, the film lacked the dark humor of Guinness' best (such as "The Lavender Hill Mob", "The Man in the White Suit" and "Kind Hearts and Coronets"). Instead, it's kind of cute, a tad funny and just a bit clever.
While I am not a huge fan of Glynnis Johns (mostly due to her voice--which limited her range), here she is at her best. I think this is because her character is VERY deep--she's certainly not who you initially think she is and she is probably the funniest thing in the film.
Overall, enjoyable and a must-see for any fan of Alec Guinness. However, if you aren't a fan, try watching some of the films I mentioned above first--they are a bit better.
Guinness plays a humble clerk who through a lot of drive, determination and conniving, he's able to quickly get ahead in life. He isn't necessarily a bad man--just an amazing opportunist--sort of like a British version of "How to Succeed in Business Without Even Trying" set around 1900...but with less comedy. In fact, the lack of comedy is the film's weakest point. While it has a few droll moments, the film lacked the dark humor of Guinness' best (such as "The Lavender Hill Mob", "The Man in the White Suit" and "Kind Hearts and Coronets"). Instead, it's kind of cute, a tad funny and just a bit clever.
While I am not a huge fan of Glynnis Johns (mostly due to her voice--which limited her range), here she is at her best. I think this is because her character is VERY deep--she's certainly not who you initially think she is and she is probably the funniest thing in the film.
Overall, enjoyable and a must-see for any fan of Alec Guinness. However, if you aren't a fan, try watching some of the films I mentioned above first--they are a bit better.
THE CARD (Ronald Neame, 1952) ***
Bunuel197624 January 2010
Alec Guinness' reputation as a serious actor tends to overshadow the subtle but deftly comic early work he was involved in, even when the films themselves (especially his handful of Ealing classics) are highly-regarded. This was another fine (and reasonably popular) vehicle for him in which he plays a go-getter(!) who uses his wits – and the helping hand lent him by Fate – to rise the ranks in British society from a washer-woman's son to, ultimately, Mayor of his town. In this respect, the film reminded me of two similar efforts i.e. NOTHING BUT THE BEST (1964) and THE RISE AND RISE OF MICHAEL RIMMER (1970) – which I owned but had not yet checked out (and which I then promptly opted to include in my ongoing Christmas schedule); of course, thematically, it is not unlike Ealing's own KIND HEARTS AND CORONETS (1949; in which Guinness had memorably played eight murder victims)...but the approach here is altogether more genteel and nostalgic (even if there are a few undeniable belly-laughs along the way), thus lacking the pointed satirical barbs which distinguished the earlier (and later) films. Anyway, the star delivers an entirely disarming performance and the film – augmented by its charming period setting – proves a most delightful concoction. He is abetted besides by three splendid leading ladies in Glynis Johns (surprisingly playing haughty), Valerie Hobson (obviously aristocratic, her feathers apparently not even unruffled by a pratfall!) and Petula Clark (not yet the chart-topping singer and, tackling the role of a commoner, is naturally Guinness' eventual choice of partner). Foremost among the supporting cast, then, is Edward Chapman – later a stooge in many a Norman Wisdom comedy – as Guinness' disgruntled former employer, but several other familiar faces crop up throughout (Peter Copley, Michael Hordern, Wilfrid Hyde-White, Frank Pettingell, etc). For the record, this was the first of four appearances by the star in films directed by Neame (apart from two the latter had produced for David Lean); of these, the only one I have yet to watch is another comedy, THE HORSE'S MOUTH (1958), which I might as well get to now rather than later...
Excellent
henry-girling20 November 2003
Very well adapted from the novel by Arnold Bennett, this is a warm and witty comedy about the rise of a washerwoman's son from obscurity to becoming the Mayor. In a series of episodes Edward Henry (Denry as his mother called him) Machin demonstrates his acumen in business, his eye for the main chance, noticing what Shakespeare called the 'tide in the affairs of men that leads on to fortune'. (Literally in one episode!)
In all of his this you can not help liking Denry, especially as he is perfectly played by Alec Guinness. As the narrator says, he is not dishonest, he just likes to give providence a helping hand. As Denry grows older Guinness wonderfully captures each facet of his character. He is well supported by the other cast members, each one also perfect for their roles. It is hard to think of a better cast film, even down to the small roles.
The film captures well the look of the Potteries. The small houses, the pottery kilns, the canal. This place is living and breathing, populated by interesting people. An excellent film, splendid in all departments and well worth seeing many times.
In all of his this you can not help liking Denry, especially as he is perfectly played by Alec Guinness. As the narrator says, he is not dishonest, he just likes to give providence a helping hand. As Denry grows older Guinness wonderfully captures each facet of his character. He is well supported by the other cast members, each one also perfect for their roles. It is hard to think of a better cast film, even down to the small roles.
The film captures well the look of the Potteries. The small houses, the pottery kilns, the canal. This place is living and breathing, populated by interesting people. An excellent film, splendid in all departments and well worth seeing many times.
The Card
jboothmillard28 September 2009
Warning: Spoilers
From director Ronald Neame (The Prime of Miss Jean Brodie, The Poseidon Adventure), any old film with Sir Alec Guinness is definitely worth trying in my opinion. Basically this is the charming story of Edward Henry 'Denry' Machin (Guinness), who finds many ways to rise in the ranks of business and social standing, both honest and some dishonest, and you can't help but like him. It starts with a job in an accountants, and then an invitation to a ball for the Countess of Chell (Valerie Hobson), and he keeps getting more and more money with every new and better job who charms his way into. He also forms a bond with dance teacher Ruth Earp (Mary Poppins' Glynis Johns), they do break up and he finds a new love with Nellie Cotterill (Petula Clark), but in the end, he manages to get to the rank of town mayor. Also starring Edward Chapman as Mr. Duncalf, Veronica Turleigh as Mrs. Machin, George Devine as Mr. Calvert, Gibb McLaughlin as Emery, Frank Pettingell as Police Superintendent, Joan Hickson as Mrs. Codleyn and Michael Hordern as Bank Manager. Guinness doesn't have to try to be nice and charming, he is so natural and I just found myself smiling all the way, and the support of Johns and Hobson are good too. I can see what the critics mean when they say that it is trying to present itself like an Ealing Studios comedy, but it doesn't matter, it is a nice pleasant film. It was nominated the Oscar for Best Sound, Recording. Sir Alec Guinness was number 12 on The 50 Greatest British Actors, he was number 2 on Britain's Finest Actors, and he was number 11 on The World's Greatest Actor. Good!
How can anyone not enjoy it?
benbrae7630 August 2006
This terrific 1952 British black and white movie directed by Ronald Neame (with an inspired casting of a young Alec Guinness as Arnold Bennett's wonderful character, the upwardly-mobile Denry Machin), loses none of the story's magic and captures the flavour of the period (from about 1888 and onwards) and the Potteries (North Staffordshire, England) absolutely perfectly. The ballroom scene (among many others) is an utter delight.
The beautiful Valerie Hobson as the "Countess of Chell" is enchanting. Glynis Johns as the frivolous and extravagant social-climbing dance instructress is equally lovely. Edward Chapman as Mr Duncalf is at his usual pompous best. A marvellous supporting cast puts in a stalwart performance and are all on top form, and the acting by all involved is superb (although Petula Clark is a little too reserved and somewhat bland), but after all that, the star of the show surely has to be Joey the Mule.
I don't intend to give you the storyline as enough reviewers have done that already. Suffice it to say that of all the transferences of classic stories to the screen, this must be one of the best, and I defy anyone (young or old) who may watch it, not to enjoy it (even though it is in black and white), and unfortunately, even with colour and much improved modern techniques, marvellous movies like this just aren't made anymore.
The beautiful Valerie Hobson as the "Countess of Chell" is enchanting. Glynis Johns as the frivolous and extravagant social-climbing dance instructress is equally lovely. Edward Chapman as Mr Duncalf is at his usual pompous best. A marvellous supporting cast puts in a stalwart performance and are all on top form, and the acting by all involved is superb (although Petula Clark is a little too reserved and somewhat bland), but after all that, the star of the show surely has to be Joey the Mule.
I don't intend to give you the storyline as enough reviewers have done that already. Suffice it to say that of all the transferences of classic stories to the screen, this must be one of the best, and I defy anyone (young or old) who may watch it, not to enjoy it (even though it is in black and white), and unfortunately, even with colour and much improved modern techniques, marvellous movies like this just aren't made anymore.
Another Alec Guinness Triumph POSSIBLE SPOILERS
gelman@attglobal.net27 August 2011
Film goers who got to know Alec Guinness through the series of comedies he starred in for J. Arthur Rank will recognize the high performance standard he had attained by the early 1950's. His ascent seems swift but Guinness did not really get his start until after World War II, and he was already 38 when The Promoter/The Card was made. This film is a fairly lightweight comedy. Guinness' character, "Denry" Machin, is an imaginative young fellow who has a talent for seeing and seizing the main chance. He gets an important boost from a friendship with the Countess of Chell (Valerie Hobson), is nearly netted by the gold-digging Ruth Earp (Glynis Johns) and eventually finds his true love Nellie Cotterill (Petula Clark). I don't really consider this summary to contain any spoilers because most of the plot developments are visible a mile away. Much of the fun, in addition to that supplied directly by Guinness, comes from an assortment of near-Dickensian characters he encounters with aplomb on his way from poverty to riches.
Cheering us up
gray411 July 2006
One of the greatest British comedies of the 1950s and one of Alec Guinness' most satisfying roles early in his long career. As Denry Machin, son of a washerwoman and the "card" of the title, Guiness brings to life one of the almost forgotten stories about the "five towns" (Stoke-on-Trent) of Arnold Bennett. The old-fashioned and very English word "card" had to be translated into the American title "the promoter", but that is a far less accurate description of Denry Machin's combination of charm and opportunism.
He is supported by four magical actresses, in sharply contrasted roles. Gold-digger Glynis Johns, her friend Petula Clark, aristocrat Valerie Hobson and mother Valerie Turleigh are all charmed in their different ways by Guiness' smiles as he "gives providence a helping hand". William Alwyn's music is perfect, with a jaunty theme-tune that has lingered in my memory for more years than I care to remember. Ronald Neame's direction, also at the start of an impressive directorial career, brings the best out of Guinness, although the setting is disappointingly 'comedy-Northern' rather than specifically Stoke-on-Trent.
Overall a delightful film, and the perfect pick-me-up after watching a depressing Hollywood block-buster (Million Dollar Baby). And watch out for one of the movies' great sign-off lines, from Valerie Hobson.
He is supported by four magical actresses, in sharply contrasted roles. Gold-digger Glynis Johns, her friend Petula Clark, aristocrat Valerie Hobson and mother Valerie Turleigh are all charmed in their different ways by Guiness' smiles as he "gives providence a helping hand". William Alwyn's music is perfect, with a jaunty theme-tune that has lingered in my memory for more years than I care to remember. Ronald Neame's direction, also at the start of an impressive directorial career, brings the best out of Guinness, although the setting is disappointingly 'comedy-Northern' rather than specifically Stoke-on-Trent.
Overall a delightful film, and the perfect pick-me-up after watching a depressing Hollywood block-buster (Million Dollar Baby). And watch out for one of the movies' great sign-off lines, from Valerie Hobson.
My brief review of the film
sol-24 November 2005
Apparently a comment on transcending class boundaries, the message seems to get lost amidst the gags, however the film can still be enjoyed as a light comedy. It has a number of amusing moments and ideas, and the introductory narration is wonderfully descriptive. The film suffers from predictability and a rather mundane screenplay and plot, but Alec Guinness's charm and charisma save the day. Glynis Johns is however annoying whenever on screen, but the other actresses manage to do okay. Ronald Neame has done comedy better before - he seems to insert too much action into his vision of the material here - but it ultimately is an entertaining overall film nevertheless.
The (deservedly) beloved Guinness is miscast in this one
paxveritas26 September 2017
Yes, agreed, this is a light-hearted, feel-good film. Events roll pleasantly along, and Guinness crashes through the class barrier using a wily prudence and opportunism.
The problem is, Guinness is always Guinness. That works delightfully in "The Ladykillers" and "The Lavender Hill Mob." Not so much in "The Card." Guinness' constant, somewhat smug semi-smirk gives Denry more of an air of cynicism than suits the general purpose of this movie.
The casting director should've hauled George Cole into this role. Cole was twenty-seven in 1952. He would've brought the proper note of innocence/cleverness/playful joy into Denry.
By the way, the author of the book this film is based on, Arnold Bennett, gave Denry his own birthdate, and was also a rent-collector for a time (while in the employ of his father).
The problem is, Guinness is always Guinness. That works delightfully in "The Ladykillers" and "The Lavender Hill Mob." Not so much in "The Card." Guinness' constant, somewhat smug semi-smirk gives Denry more of an air of cynicism than suits the general purpose of this movie.
The casting director should've hauled George Cole into this role. Cole was twenty-seven in 1952. He would've brought the proper note of innocence/cleverness/playful joy into Denry.
By the way, the author of the book this film is based on, Arnold Bennett, gave Denry his own birthdate, and was also a rent-collector for a time (while in the employ of his father).
Low key. Perhaps too low key.
aramis-112-8048802 January 2024
Alec Guinness is "The Card" (or "The Promter"), a young man from a poor background who knows how to make his way up in the world. In American movies he'd be presented as a force of evil. An exploiter. A scoundrel. Guinness play him as charming, ingratiating without being hypocritical. Well, not much.
He's supported by a strong cast including Glynis John, Valerie Hobson and Petula Clark. Plus a few extras.
Though the lead character's rise is amusing and so is his relationship with Glynis, the whole thing seems to be a bit pointless.
While smile-worthy I only had one real laugh, toward the end, and to get it you have to be familiar with British films of the period. It was in a surprise reveal (no more hints).
Guinness is wonderful, as usual. His good-natured youn man carries us through an unremarkable tale.
He's supported by a strong cast including Glynis John, Valerie Hobson and Petula Clark. Plus a few extras.
Though the lead character's rise is amusing and so is his relationship with Glynis, the whole thing seems to be a bit pointless.
While smile-worthy I only had one real laugh, toward the end, and to get it you have to be familiar with British films of the period. It was in a surprise reveal (no more hints).
Guinness is wonderful, as usual. His good-natured youn man carries us through an unremarkable tale.
Alec Guinness is too cute
HotToastyRag14 October 2020
If you only think of Alec Guinness as the David Niven wannabe from The Bridge on the River Kwai, or the ridiculously scary Fagin in Oliver Twist-I won't even mention Star Wars-you need to rent The Promoter. He's positively adorable!
He comes from very humble beginnings in this one, but he's determined to become respectable. If you liked him as the "pale faced gentleman" in Great Expectations, you'll love him in this movie. It's as if screenwriter Eric Ambler reimagined a backstory for his character and made a movie about it. With scrimping, saving, cunning, and thorough planning, Alec rises higher and higher on the food chain - I mean, in society. He's a bit of a scamp sometimes, but you've got to admire his intellect. Some of the things he does in the movie are a bit unscrupulous, but he doesn't hurt others so you can still root for him.
Along the way, he meets up with Glynis Johns, a low-class, poor dance teacher. He's pursuing the wealthy, classy Valerie Hobson, but for some reason he's drawn to Glynis. Self-sabotage, maybe? Keep your eyes open for a very young Petula Clark, too! Mostly, you won't be paying attention to the girls in this movie. Alec Guinness is just too cute. He's got wavy hair, extra eye makeup, and a charming confidence that makes you wish he didn't insist on disguising himself in his other movies. Check out this obscure comedy this weekend!
He comes from very humble beginnings in this one, but he's determined to become respectable. If you liked him as the "pale faced gentleman" in Great Expectations, you'll love him in this movie. It's as if screenwriter Eric Ambler reimagined a backstory for his character and made a movie about it. With scrimping, saving, cunning, and thorough planning, Alec rises higher and higher on the food chain - I mean, in society. He's a bit of a scamp sometimes, but you've got to admire his intellect. Some of the things he does in the movie are a bit unscrupulous, but he doesn't hurt others so you can still root for him.
Along the way, he meets up with Glynis Johns, a low-class, poor dance teacher. He's pursuing the wealthy, classy Valerie Hobson, but for some reason he's drawn to Glynis. Self-sabotage, maybe? Keep your eyes open for a very young Petula Clark, too! Mostly, you won't be paying attention to the girls in this movie. Alec Guinness is just too cute. He's got wavy hair, extra eye makeup, and a charming confidence that makes you wish he didn't insist on disguising himself in his other movies. Check out this obscure comedy this weekend!
Knave Of Clubs
writers_reign5 January 2015
Warning: Spoilers
I had several opportunities to watch this over the years but I could never work up much of a sweat for 'period' pieces, especially period pieces set in the Midlands and points north, to put it another way things like Hobon's Choice, Hindle Wakes, Love On The Dole and their ilk were anathema to me, and in the interests of fair play even something more 'southern' like The History of Mr. Polly also lacked appeal. Finally I spotted a DVD of The Card with a bonus in the shape of a TV play written for Guiness by John Mortimer so I shelled out two quid and found The Card to be a pleasant diversion with competent performances and a left-handed charm going for it. It would seem that better late than never hits the spot.
A subtle gleem in the eye charms the world.
mark.waltz10 November 2023
Warning: Spoilers
Even if he had never played Obi-Wan Kenobi, Alec Guennis would be regarded more than just fondly. He's the greatest man of many faces since the senior Lon Chaney, and even had a 1950's Life magazine spread honoring him as such. Guennis didn't need major disguises to change his appearance. All he had to do was squint, squat, or scowl, and he was another person, whether as Fagin or a murderous heir to a fortune or lady killer or ghost. Even as an "every man", he was as far from an every man as any man could be.
As a washer woman's son, he desires position first, money second, and power third. He's going to get his mother a comfortable life style no matter what else he does, and along the way dances with a duchess (Valarie Hobson) and finds a variety of women (Glynis John's, later Petula Clark) as he rises up from a humble clerk to loan shark to successful businessman with a bit of amorality, and had he set his eyes on it, he could have manipulated his way into public office.
A very subtle comedy that shows Guennis at his best, and scenes with his younger self has Alec's son playing his part. Of the three women, Johns comes off as best, as quirky and multi-faceted as Guennis is. The women don't just drop out of his life. They all return for one reason or another. Veronica Turleigh as his mother is quite formidable, fainting when Guennis presents her with a hat filled with coin, yet determined to remain busy with her work and remain in her humble home. A truly good script with top notch direction by Ronald Neame makes this a must especially for Guennis fans.
As a washer woman's son, he desires position first, money second, and power third. He's going to get his mother a comfortable life style no matter what else he does, and along the way dances with a duchess (Valarie Hobson) and finds a variety of women (Glynis John's, later Petula Clark) as he rises up from a humble clerk to loan shark to successful businessman with a bit of amorality, and had he set his eyes on it, he could have manipulated his way into public office.
A very subtle comedy that shows Guennis at his best, and scenes with his younger self has Alec's son playing his part. Of the three women, Johns comes off as best, as quirky and multi-faceted as Guennis is. The women don't just drop out of his life. They all return for one reason or another. Veronica Turleigh as his mother is quite formidable, fainting when Guennis presents her with a hat filled with coin, yet determined to remain busy with her work and remain in her humble home. A truly good script with top notch direction by Ronald Neame makes this a must especially for Guennis fans.
A beautiful gem of a film.
junk-monkey6 July 2005
Warning: Spoilers
This is a wonderful film. That's it. There is nothing else to be said. Really. It's gentle, charming, witty and just about perfect in every way. (Ok, if you are a hard-core slasher / zombie movie fan you aren't going to like it - but anyone into grown up movies will be charmed.)
The script is light and flawless, there isn't a wasted shot, and Guinness is superb. After a few minutes I had forgotten it was Alec Guinness on the screen and was hooked. I especially loved the way Guinness couldn't dance at his first lesson - a wonderful piece of physical acting - and I was genuinely squirming with apprehension as the gauche young solicitor's clerk marched through the ballroom to ask the Countess of Chell for a dance.
A beautiful gem of a film.
The script is light and flawless, there isn't a wasted shot, and Guinness is superb. After a few minutes I had forgotten it was Alec Guinness on the screen and was hooked. I especially loved the way Guinness couldn't dance at his first lesson - a wonderful piece of physical acting - and I was genuinely squirming with apprehension as the gauche young solicitor's clerk marched through the ballroom to ask the Countess of Chell for a dance.
A beautiful gem of a film.
A forgotten jewel
rjkohn12 September 2002
(Hallmark Home Entertainment VHS 91 mins) I first saw this movie almost exactly fifty years ago. At that time it was known as The Promoter. This film shows without a doubt the enormous talents of Alec Guinness. I seem to feel that it did not receive the acclaim of some other Guinness films possibly due the date of its release, 1952. Just after Lavender Hill Mob and before A Captain's Paradise. There is absolutely nothing I didn't like about the picture. The three principal ladies were all superb. This was the only film Guinness made with Petula Clark or Glynis Johns. He did make Great Expectations and Kind Hearts and Coronets with Valerie Hobson. I have always remembered one scene with Guinness and Johns. In the movie they are engaged and Johns spends Guinness' money as fast as she could. At one store the shop keeper asks for the name and address, so as to be able to have the package delivered. Guinness, without hesitating one instant answers, "Rockefeller - Buckingham Palace." Wonderful film - great entertainment!
Delightful comedy
thos4020 April 2009
This is another superb British comedy of the early '50s. The story (based quite closely upon the Arnold Bennett novel) is fun, the script by Eric Ambler spot on, and the production well done. The black and white photography is truly beautiful, and captures the sense of time, place and atmosphere better than any amount of glossy colour could have. I gather that some of the exteriors were shot in Burslem ("Bursley" in the film) and Llandudno, but even if they were not, they feel as though they could have been. The only time the illusion of reality was lost was during some clunky back-projection when Denry was driving his new car.
The performances were superb, as one expects of a British film of the period, from the principals, especially Alec Guinness and Glynis Johns -how beautiful she was, how grating her voice, and what a character she created - to extras with a few lines, e.g., Michael Hordern as a sympathetic bank manager.
In all, this film is a total delight.
The performances were superb, as one expects of a British film of the period, from the principals, especially Alec Guinness and Glynis Johns -how beautiful she was, how grating her voice, and what a character she created - to extras with a few lines, e.g., Michael Hordern as a sympathetic bank manager.
In all, this film is a total delight.
Dull and Overlong
kenjha30 December 2011
Guinness made a number of fine British comedies in the 1950s, but this is not one of them. It starts off as mildly amusing as Guinness slyly climbs the social ladder through deceit. Soon, however, the events become totally random and the film starts to drag. This may be the longest 90-minute movie ever made! It just goes on and on for what seems like at least two hours. Although light-hearted, there's hardly anything funny here. A good supporting cast is wasted by an uninspired script. Interestingly, a coronation scene near the end features the "Colonel Bogey" march, a tune that was more famously whistled by Guinness's men in "The Bridge on the River Kwai."
Guinness and Clark Shine in Sweet British Comedy of Manners
SFTVLGUY221 February 2005
Warning: Spoilers
"The Card" (released as "The Promoter" in the United States) is rightly considered by many critics to be a minor classic of British cinema. This 1952 production, adapted from the novel by Alan Bennett, was well-written by Eric Ambler, superbly cast, and helmed by notable director Ronald Neame. Its plot centers on Denry Machin (Alec Guinness), a washerwoman's son who, from an early age, discovers guile, wits, and personality will lead to success and enable him to rise in social rank, finally achieving the position of mayor.
Guinness, in one of his first romantic leads, offers a beguiling performance and is well-supported by Valerie Hobson, as his patron, and Glynis Johns, as a scheming fortune hunter. The true standout here is Petula Clark in one of her first adult roles, before her singing career moved into high gear. As sweetly innocent Nellie Cotterill, she more than holds her own opposite the more-experienced Guinness with a performance so charming that she wins the viewer's heart as much as she captures Denry's. Although the role makes no major demands on her acting talents, Clark does have several moments that allow her range and depth to show. "Kidnapped" by Denry from a ship about to take her and her parents to Canada, she's totally mystified by his actions, and as they head off in a cab, she plaintively asks, "What will you do with me?," upon which he matter-of-factly responds, "Why, marry you, of course," and firmly taking her in his arms, gives her a passionate kiss. Within that brief moment, Nellie's expression goes from naive to stunned to delighted so subtly that the transition is barely noticeable, a sign of truly fine acting. How unfortunate that Clark and Guinness never paired again on-screen. Their performances here provide the backbone for an intelligent comedy rich with the atmosphere of both the working and aristocratic classes of England. A Merchant-Ivory production couldn't have done it better.
Guinness, in one of his first romantic leads, offers a beguiling performance and is well-supported by Valerie Hobson, as his patron, and Glynis Johns, as a scheming fortune hunter. The true standout here is Petula Clark in one of her first adult roles, before her singing career moved into high gear. As sweetly innocent Nellie Cotterill, she more than holds her own opposite the more-experienced Guinness with a performance so charming that she wins the viewer's heart as much as she captures Denry's. Although the role makes no major demands on her acting talents, Clark does have several moments that allow her range and depth to show. "Kidnapped" by Denry from a ship about to take her and her parents to Canada, she's totally mystified by his actions, and as they head off in a cab, she plaintively asks, "What will you do with me?," upon which he matter-of-factly responds, "Why, marry you, of course," and firmly taking her in his arms, gives her a passionate kiss. Within that brief moment, Nellie's expression goes from naive to stunned to delighted so subtly that the transition is barely noticeable, a sign of truly fine acting. How unfortunate that Clark and Guinness never paired again on-screen. Their performances here provide the backbone for an intelligent comedy rich with the atmosphere of both the working and aristocratic classes of England. A Merchant-Ivory production couldn't have done it better.
Best Of British
roger-simmons194225 September 2009
I first saw this film a number of years ago and had never forgotten it. I took the opportunity to watch it again recently and realised what a little masterpiece it is, based on a timeless premise of rags to riches. Each member of the cast is faultless and the direction is superb, Guiness shows what a consummate actor he was admirably supported by some of the fine character players of the time. Glynis Johns plays manipulation and seductiveness to perfection ably supported by Valerie Hobson and Petula Clark as the other central women working to the finely crafted screenplay. To me it ranks along with the finest Ealing comedies. The Card is an example of British film making at its best.
If you like British comic drama, it's quite special and warm...give it a try
secondtake31 August 2013
The Card (1952)
This is an Alec Guinness movie top to bottom, which is probably misleading to people who don't know his best films like "The Man in the White Suit" the year before or "Kind Hearts and Coronets" or "The Lavender Hill Mob." This one is not a comic classic like those, but it is in fact in the same lineage (never mind that American detective master Eric Ambler wrote the screenplay).
For those familiar with British comic dramas like these, you'll know what to expect, and "The Card" is really filled with warmth, wry humor, absurdist twists, and lots of changes of course. If you don't know of this Guinness (et al) background you'll maybe recognize this as a precursor to the humor of Peter Sellers and (by extension in his films) Woody Allen (of all people). But another side to this makeshift analysis is the American screwball comedy of the 1930s and early 40s. In a way, that's where this has its roots. A unlikely love is bound to happen between the leading man and leading woman, but things continually get in the way. Until the end.
It's not a screwball however. It never gets quite that zany, or in fact quite that "good," if you happen to like the great screwballs. It's not that "The Card" is restrained, exactly, but it has an almost serious tone at moments, and the whole backdrop (of a man moving up through the ranks of a working class culture) is something of a normal course for heroes in regular dramas.
The name of the movie on its release is the best, because a card is someone who has some tricks up his sleeve, or who is wily at other people's expense (though light heartedly, for sure). The American release changed the name (for no good reason, I think) to "The Promotor," which implies either an impresario (perhaps a bit tongue in cheek) or someone who is playing the system for his own gain. And that's not really what Guinness's character is quite all about.
One of the odd things about Guinness is his particular style, which you might say is all his own. And which makes the movie its own. He's comic with always this softening of the edges. He smiles and is likable but never quite with genuine warmth. You might even suspect of him of being too much an actor, so that every emotion is a trained one. That works better in some of his other movies, where the director plays against that type. Here he is made to be a bit more of a standard leading man, and it falters just a hair.
You might also find the plot is not especially compelling. You won't really care what happens, partly because you already half know, and partly because the succession of events it sufficient enough, not for the end result but for the moments, each one. Still, there's nothing quite like this in American film, certainly not by 1952 (that I know of), so if you like this you might really be transported. Very well made, oddly sincere, and if not belly-laugh stuff, still warm and happy.
This is an Alec Guinness movie top to bottom, which is probably misleading to people who don't know his best films like "The Man in the White Suit" the year before or "Kind Hearts and Coronets" or "The Lavender Hill Mob." This one is not a comic classic like those, but it is in fact in the same lineage (never mind that American detective master Eric Ambler wrote the screenplay).
For those familiar with British comic dramas like these, you'll know what to expect, and "The Card" is really filled with warmth, wry humor, absurdist twists, and lots of changes of course. If you don't know of this Guinness (et al) background you'll maybe recognize this as a precursor to the humor of Peter Sellers and (by extension in his films) Woody Allen (of all people). But another side to this makeshift analysis is the American screwball comedy of the 1930s and early 40s. In a way, that's where this has its roots. A unlikely love is bound to happen between the leading man and leading woman, but things continually get in the way. Until the end.
It's not a screwball however. It never gets quite that zany, or in fact quite that "good," if you happen to like the great screwballs. It's not that "The Card" is restrained, exactly, but it has an almost serious tone at moments, and the whole backdrop (of a man moving up through the ranks of a working class culture) is something of a normal course for heroes in regular dramas.
The name of the movie on its release is the best, because a card is someone who has some tricks up his sleeve, or who is wily at other people's expense (though light heartedly, for sure). The American release changed the name (for no good reason, I think) to "The Promotor," which implies either an impresario (perhaps a bit tongue in cheek) or someone who is playing the system for his own gain. And that's not really what Guinness's character is quite all about.
One of the odd things about Guinness is his particular style, which you might say is all his own. And which makes the movie its own. He's comic with always this softening of the edges. He smiles and is likable but never quite with genuine warmth. You might even suspect of him of being too much an actor, so that every emotion is a trained one. That works better in some of his other movies, where the director plays against that type. Here he is made to be a bit more of a standard leading man, and it falters just a hair.
You might also find the plot is not especially compelling. You won't really care what happens, partly because you already half know, and partly because the succession of events it sufficient enough, not for the end result but for the moments, each one. Still, there's nothing quite like this in American film, certainly not by 1952 (that I know of), so if you like this you might really be transported. Very well made, oddly sincere, and if not belly-laugh stuff, still warm and happy.
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