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A Canterbury Tale (1944)

Not Rated | | Comedy, Drama, Mystery | 21 January 1949 (USA)
Three modern day pilgrims investigate a bizarre crime in a small town on the way to Canterbury.
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Cast

Cast overview, first billed only:
... Thomas Colpeper, JP
... Alison Smith
... Peter Gibbs
... Bob Johnson (as Sergt. John Sweet U.S. Army)
... Narrator (non-US versions) / Seven-Sisters Soldier / Village Idiot
... Thomas Duckett
Hay Petrie ... Woodcock
... Ned Horton
... Jim Horton
... Prudence Honeywood
Betty Jardine ... Fee Baker
... Organist
Harvey Golden ... Sergt. Roczinsky
Leonard Smith ... Leslie
James Tamsitt ... Terry
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Storyline

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>

Plot Summary | Plot Synopsis

Taglines:

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

Genres:

Comedy | Drama | Mystery | War

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

21 January 1949 (USA)  »

Also Known As:

Canterbury mesék  »

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Box Office

Budget:

$650,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Recording) (uncredited)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

This was the first box-office flop that the team of Michael Powell and Emeric Pressburger had, and it was unseen and unavailable for many years before being rediscovered in the late 1970's. It was only after that, that people began to question whether or not Stanley Kubrick had seen it prior to making his famous success, "2001 - A Space Odyssey". Certainly, the opening of this film, where a falcon is released from a falconer's wrist in the 14th-century prologue, flies into the air out of shot and seems to turn into a World War II RAF plane as the modern sequences that take up the rest of the film begin, is very similar to the famous moment in "2001" where a bone, flung into the air by the prehistoric ape-man Moonwatcher at the end of the film's first section, is transformed by a single cut into a space-craft moving through space, to usher in the second section, set some four million years later. Neither Kubrick nor Powell ever confirmed this apparent influence. See more »

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.
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Connections

Featured in The Making of an Englishman (1995) See more »

Soundtracks

Turkey in the Straw
(uncredited)
Traditional
Heard as Agnes leaves Bob's bedroom
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User Reviews

 
A gentle gem that defies description
25 June 2003 | by See all my reviews

The major disadvantage when recommending this film to someone is that it's practically impossible to describe! It's easy enough to say what it *isn't*: it's not a detective story and it's certainly not a thriller, despite the fact that it nominally revolves around an unsolved crime. It's not a war-story, despite the fact that it is set immediately before D-Day and the main characters are intimately involved in the war effort. It's not a romance, despite the fact that two of the characters have an unhappy love-story. And it's not the Chaucerian epic one might be led to expect by the title and the opening scene - although by the end, the pilgrimage allusions turn out to be rather more strangely apt then they at first appear.

The only word I can find to give a flavour of this story is that it is above all English - as English as Ealing comedy (without the comedy), as Miss Marple (without the murder), as Elizabeth Goudge (without the magic)... and yet again I find myself defining it by what it *isn't*! It's English in a way that is quietly, deeply antithetical to the frenetic posturing of 'Cool Britannia'. It is as English as the haze over the long grass beneath the trees of a summer meadow; as polished brass and a whiff of steam as the express pulls up at a country halt; as church bells drifting in snatches on a lazy breeze, and the taste of blackberries in the sun.

It's almost impossible now to comprehend that the 1940s countryside in which this film is set was *really there*; that it was not the Second World War but its crippling aftermath that industrialised farms, banished the horse-drawn vehicles from the wheelwright's, and exchanged towering hay-wains for silage towers. Britain was determined never to starve again - and so the world that had once differed so little from that of Chaucer's time was swept away beyond recall. When it was made, this film was no more a rustic period piece than 'Passport to Pimlico', a few years later, was an urban social documentary. Subsequent events have preserved both in mute evidence of contemporary communities that are almost unbelievable today.

It is perhaps fair, therefore, to assume that the type of viewer who will watch 'Battlefield Earth' is unlikely to find this film anything other than silly, parochial and ultimately dull! Very little actually happens. The story is on occasion both humorous and poignant, but what we at first assume to be the central plot turns out not to be the point at all. The triple denouement is set up so gently and skilfully that we, too, are taken by miraculous surprise, with the true shape of the film only evident in retrospect.

It is, ultimately, a story about faith, and miracles, and pilgrimages, even in the then-modern world of shopgirls, lumbermen and cinema organists - and if that idea in itself sounds enough to put you off, as I confess it would have done for me before I watched it myself, then I will gladly add that it is a film about beauty, and hope, and unexpected friendship and laughter; and technically very accomplished to boot. The use of black and white is glorious, ranging from the glimmer in the obscurest of shadows to sun-drenched hillside, and the totally unselfconscious reference to Chaucer in the opening sequence is in these days worth the price of admission alone.

If you like gentle films - sweet-natured films - films with a deep affection for their subject - films that make you laugh and cry, but always smile - then I urge you not on any account to miss this one. If, for the moment, you require thrills, spills, forbidden passions and last-minute rescues, then pass it by and let it go on its tranquil way. When you are old and grey and full of sleep, this unassuming classic will still be there, waiting...


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