SYNOPSIS: Which sheep-dog has suddenly turned killer? Suspicion turns to a newcomer to the district.
NOTES: Best British film of 1938 - Frank S. Nugent in The New York Times. Second to Said O'Reilly to McNab (also starring Will Fyffe) as G-B-D's most popular Australian release of 1938. (In New Zealand, the order was reversed). Fourth on New York's National Board of Review's list of the Ten Best Films of 1938. Will Fyffe was also included in Best Acting of the year.
Second of four versions of the title novel (known as Bob, Son of Battle in the USA). The first starred J. Fisher White as Adam and was directed by Henry Edwards for Atlantic Union in 1924. 20th Century-Fox made Thunder in the Valley in 1947 with Edmund Gwenn in the McAdam role. Louis King directed. Fifty years later, the Ollivant novel was again remade, this time with James Cromwell, Colm Meaney and Jemima Rooper in the main roles, directed by Rodney Gibbons.
COMMENT: Hailed by contemporary critics as one of the greatest triumphs of British cinema during the 1930s, it's odd that this version of Ollivant's popular novel has been locked away for so long, whilst the entertaining though inferior Fox version has continued to be widely circulated. True, the black-and-white photography looks a little primitive alongside Fox's glossy Technicolor, but surely the somewhat drab gray tones are atmospherically most effective. And this after all is why Cox, a specialist in bleak lighting, was hired in the first place. Even if we take current prejudices against Cox into account, Owd Bob creams Bob, Son of Battle in every other department.
Fyffe's is truly one of the all-time great performances of the cinema. By sheer charisma and presence, he turns what is seemingly a thankless role into a marvelous success. What other actor could play such an embittered, surly, selfishly mean, miserly old tyrant with such persuasive power that all members of the audience automatically take his side, not just against the other villagers (because that's par for the course in this type of film), but even against the agreeably clean-cut hero (nicely played here by John Loder) and the ultra-charming heroine (everyone's favorite, Margaret Lockwood)? Fyffe plays the role virtually straight, but he still manages to invest plenty of sly fun into the action. We love the twinkle in his rascally eye as he outwits his rivals at nearly every opportunity. The script hands him the dominating role and he seizes it, plays it and has fun with it as only a really great actor can.
Also playing straight for once is Moore Marriott. This time instead of stooging for Will Hay, he uses his partner Graham Moffatt to bring off a couple of pleasing jests, including a bell-ringing recital. The other support roles are likewise colorfully filled by people like Bromley Davenport as a horse doctor and H.F. Maltby as slow-movingly obese police sergeant.
Stevenson has directed with a sure hand, making the most of his picturesque locations, and handling the action sequences (including a mighty pub brawl) with unusual vigor.
NOTES: Best British film of 1938 - Frank S. Nugent in The New York Times. Second to Said O'Reilly to McNab (also starring Will Fyffe) as G-B-D's most popular Australian release of 1938. (In New Zealand, the order was reversed). Fourth on New York's National Board of Review's list of the Ten Best Films of 1938. Will Fyffe was also included in Best Acting of the year.
Second of four versions of the title novel (known as Bob, Son of Battle in the USA). The first starred J. Fisher White as Adam and was directed by Henry Edwards for Atlantic Union in 1924. 20th Century-Fox made Thunder in the Valley in 1947 with Edmund Gwenn in the McAdam role. Louis King directed. Fifty years later, the Ollivant novel was again remade, this time with James Cromwell, Colm Meaney and Jemima Rooper in the main roles, directed by Rodney Gibbons.
COMMENT: Hailed by contemporary critics as one of the greatest triumphs of British cinema during the 1930s, it's odd that this version of Ollivant's popular novel has been locked away for so long, whilst the entertaining though inferior Fox version has continued to be widely circulated. True, the black-and-white photography looks a little primitive alongside Fox's glossy Technicolor, but surely the somewhat drab gray tones are atmospherically most effective. And this after all is why Cox, a specialist in bleak lighting, was hired in the first place. Even if we take current prejudices against Cox into account, Owd Bob creams Bob, Son of Battle in every other department.
Fyffe's is truly one of the all-time great performances of the cinema. By sheer charisma and presence, he turns what is seemingly a thankless role into a marvelous success. What other actor could play such an embittered, surly, selfishly mean, miserly old tyrant with such persuasive power that all members of the audience automatically take his side, not just against the other villagers (because that's par for the course in this type of film), but even against the agreeably clean-cut hero (nicely played here by John Loder) and the ultra-charming heroine (everyone's favorite, Margaret Lockwood)? Fyffe plays the role virtually straight, but he still manages to invest plenty of sly fun into the action. We love the twinkle in his rascally eye as he outwits his rivals at nearly every opportunity. The script hands him the dominating role and he seizes it, plays it and has fun with it as only a really great actor can.
Also playing straight for once is Moore Marriott. This time instead of stooging for Will Hay, he uses his partner Graham Moffatt to bring off a couple of pleasing jests, including a bell-ringing recital. The other support roles are likewise colorfully filled by people like Bromley Davenport as a horse doctor and H.F. Maltby as slow-movingly obese police sergeant.
Stevenson has directed with a sure hand, making the most of his picturesque locations, and handling the action sequences (including a mighty pub brawl) with unusual vigor.