The Wicked Lady

Wicked Lady is quite the racy little melodrama! For its time, I can imagine it was totally scandalous, but quite tame by today's standards. Margaret Lockwood is delicious as the "bad" Barbara Worth, and James Mason is totally sardonic and witty as her bad boy companion. The times when the two of them are together on screen are by far the most wicked fun (except, of course, when Barbara is contriving some plot to bend everyone around her to her silly will). Honestly, you can see the wheels turning in her head. Her performance and character was the prototype for that queen of all heroines, Scarlet O'Hara. At this time the film was made, English ladies were all atwitter about this genre of Rank Organisations films (of which The Wicked Lady might be the best). I suppose during the war, this type of escapism fantasy must have been just the ticket.

The British cinema in the 1940s was often characterised by excessive emotional restraint, "Brief Encounter" being a good example. Although it deals with an adulterous love affair, it does so in such a stiff- upper-lip way as to dissipate the emotional impact which it might otherwise have had. Gainsborough Pictures, however, were a studio which seemed to go to the opposite extreme; their films are frequently notable not for restraint but for full-blooded melodrama. "The Madonna of the Seven Moons" from 1944 is one such film, and "The Wicked Lady" from the following year is another.

The film is based on a novel by Magdalen King-Hall, which in turn was based upon the life of a real historical individual, Lady Katherine Ferrers. Or perhaps I should say upon the legends which have grown up around Lady Katherine, as there is no evidence that she was actually guilty of the crimes which the popular imagination has attributed to her. The "Wicked Lady" of the title is here renamed Barbara Skelton. It has been suggested that the name was borrowed from the socialite and writer of the same name, but this seems doubtful as the real-life Barbara Skelton was not a particularly well-known figure when King- Hall's novel was published.

Lady Katherine died in 1660, but the story of this film is set in the 1680s. In the opening scenes Barbara seduces and subsequently marries Sir Ralph Skelton, the fiancé of her friend Caroline. Although Sir Ralph is a wealthy landowner, however, Barbara quickly becomes bored with life as the wife of a country gentleman. Her solution to the problem of boredom, however, is a rather extreme one. A notorious highwayman named Captain Jerry Jackson is operating in the area, and this gives Barbara the idea of taking up highway robbery herself, at first to recover her gambling losses but later on simply for the sake of excitement. Eventually, Barbara meets the real Jackson when both try to hold up the same coach. Intrigued by the fact that his rival is a beautiful woman, Jackson takes Barbara as his partner, and the two become lovers.

Margaret Lockwood has been described as the only sex symbol to have been created by the British cinema alone, without any help from Hollywood. (Most other British sex symbols, such as Jean Simmonds, Audrey Hepburn, Joan Collins and even Diana Dors, eventually moved to America). "The Wicked Lady" is probably the film by which she is best remembered today, and she gives a splendid performance here, both seductive and at the same time detestable. By modern standards her acting is a long way over the top, but period melodrama like this does not really call for naturalistic acting. Lovely though Margaret was, however, she has a rival for the title of "most beautiful girl in the film" in the shape of Patricia Roc who plays the naïve young Caroline. (Roc was actually 30 when the film was made, but had the sweetly innocent looks to enable her to play a 19-year-old).

James Mason is not normally thought of as a "swashbuckling" actor so might not have seemed the most natural choice to play a dashing highwayman. And yet he is very good in the role, bringing to it not only great charm but also some of the world-weariness which characterised a number of his performances. Jackson knows that his career is likely to end in his death, yet fatalistically accepts this probability. He also retains a certain sense of honour- he is, for example, very unwilling to kill those whom he robs- unlike Barbara who is completely amoral and ruthless. There is also a good contribution from Griffith Jones as Ralph, a total fool where Barbara is concerned but otherwise decent and honourable.

This was the most popular film in Britain in 1946. (It was released in 1945, but these were the days when only a limited number of prints were made, so it could take months for a film to be shown in all parts of the country). In America, however, it fell foul of the censors. What upset the Hays Office was not the fact that Barbara is guilty of adultery, robbery and murder. They were far more upset by the low-cut dresses worn by Barbara, Caroline and some of the other female characters, even though these would have been appropriate to the period. Eventually, a bowdlerised version, with several scenes re-shot, was released in America.

Today, Gainsborough melodramas like this one can come across as very dated and more than a little camp, with their exaggerated emotion and exaggeratedly black-and-white view of the world, represented here by the contrast between the evil Barbara and the saintly Caroline. Yet, for all its faults, Lockwood is spellbinding enough to make "The Wicked Lady" compulsive viewing. 7/10

At the end of World War II the U.K. Gainsborough Studios had a very fine reputation based on the production of a long string of successful films, and backed by a list of very well known performers on whom they could call. November 1945 saw the release of "The Wicked Lady" - a film version of a historical novel by Magdalen King Hall which featured four of their major stars, with Margaret Lockwood in the title role supported by Jean Kent, James Mason and Patricia Roc. Initially this film was panned by many of the critics, but it was immensely successful at the U.K. box office and has now certainly achieved the status of a major black and white classic. I first saw it at quite a young age soon after it was released, and (perhaps largely because of my impressionable age) thought it must be one of the most sexy films ever released. However a few years later I saw it again and this confirmed my first impression. Margaret Lockwood was a great actress who participated in some 50 films during a career which spanned over more than 40 years. The Wicked Lady was a mid-career film made at a time when she was at the peak of her powers and she gave a memorable, if chilling, performance in the part of Lady Barbara Skelton The performances of her co-stars were perhaps not quite so memorable, but this was largely because the premise of both the book and the film was that the wicked lady had a very much stronger character than anyone else with whom she interacted, and it would be hard to seriously fault any of the acting.

For some reason this film never achieved comparable success in the U.S.A. Because the meticulously recreated seventeenth century costumes used for the original version displayed too much décolletage for the Hayes office, it was re-filmed a year after it was first released with modified costumes, specifically designed for the U.S. market. According to IMDb, Universal Pictures were the U.S. distributors; but the film does not seem to be widely known and may only have received a very limited distribution - IMDb do not even list a U.S. rating for this film. Thirty eight years later the film was remade under the same title in colour, with Faye Dunaway in the title role. As is so often the case in such circumstances I found the original version to be very much more memorable, but unfortunately it has now become very difficult to purchase in a form suitable for home viewing. A DVD in PAL format has been released in Europe, but I do not think it was ever produced in NTSC format - one hopes this was not because of continuing concern about the necklines.

This year is the sixtieth anniversary of the original film (which was never released in the United States) and I am now submitting these comments to IMDb to suggest that the anniversary provides an ideal opportunity to release a North American DVD version of it. Many classic black and white films have been released on DVD in this way during the past few years and "The Wicked Lady" would be a worthy addition to this list. Some of the listed prices for such releases tend to be rather high, suggesting that large sales of monochrome films are not expected today. If this is a concern the original version of the film could probably be paired with the 1983 colour remake in a double release which would provide viewers interested in the development of the modern cinema with an excellent opportunity to compare the film making techniques of two very different periods.

Not popular with the critics,and I agree the critical chorus had a certain amount of truth behind it. True, the plot is full-blown melodrama and the characters are pasteboard figures. But what does it matter? Is not extravagant plotting with all its coincidences, unlikely twists and larger than life surprises the stuff that escapist entertainment is made of? Are not players of the calibre of Mason, Lockwood, Rennie, Jones, Aylmer, Roc and Stamp Taylor sufficiently personable and charismatic to breathe life into one-dimensionally written figures? Certainly, I think so (even if Mason himself did not, although undoubtedly one of the causes of his dissatisfaction was the role's brevity).

Leslie Arliss has written and directed with verve, pace and style, his script helped by a great deal of witty additional dialogue and catty repartee, his direction aided by Jack Cox's typically moody, gray-toned photography, John Bryan's magnificent sets, Elizabeth Haffenden's eye-catching Restoration costumes. (Perhaps some of the film's enormous success at the box office can be traced to its low-cut, period gowns. It would be hard to deny that Misses Lockwood and Roc fill their costumes most attractively).

The Wicked Lady has an undeniable sweep and a vigorous dash that carries the audience right along. It may be too excitingly plotted for some, but it always looks so terribly authentic, it is hard not to be drawn into the machinations of villainess Lockwood or sympathize with the careless, carefree vigor of James Mason's full-blooded Captain Jackson. A welcome cast of deservedly popular support artists help round out the movie's terrific production values. Aside from some obvious process screen effects, no expense has been spared. In fact, this Wicked Lady is lavish to a fault.

The Wicked Lady is a sumptuous tale of excitement, passion, danger and deceit. Margaret Lockwood plays Barbara Skelton, who engages in treachery almost from the outset by stealing her best friend's man. It becomes clear that she is a ruthless character who will stop at nothing to get what she wants, even engaging in highway robbery to enliven her dull existence. Soon she meets a notorious highwayman, Jerry Jackson, and sparks soon begin to fly between the two outlaws! In order to preserve her secret lifestyle, all manner of wickedness ensues. Margaret Lockwood is fantastic as the selfish, devious protagonist and James Mason smolders as the dashing highwayman. This is a wicked treat not to be missed!