(1943, The Archers)
“Can’t imagine anything more awful than to be a prisoner of war in England”
In 1930s Britain, a cartoon character emerged in one of the major papers, openly criticising the British establishment by being blundering, preposterous and full of hot air. Colonel Blimp was designed to be a satirical representation of British military officers who spoke with a great deal of authority on topics they didn’t understand and expressed very jingoistic views. In 1943, production team The Archers decided to develop this character further in a movie, exploring his life and expanding him into more than just a stereotype. And thus, The Life And Death of Colonel Blimp.
The Life And Death of Colonel Blimp focuses on Major-General Wynne-Candy (Roger Livesey), exploring his life through a series of lengthy flashbacks. Starting with his escapades in the Boer War in the early 20th century and leading through the World Wars, we witness his attempts to maintain a stiff upper lip in the face of complicated diplomatic incidents and his growing affection for a woman named Edith Hunter (Deborah Kerr), and how this affects his decisions. Read the rest of this entry
(1948, Michael Powell & Emeric Pressburger)
“A dancer who relies on the doubtful comforts of human love can never be a great dancer”
Ballet is an obsessive art, as has been pointed out many times over the years. One of the more recent works to demonstrate this was the excellent Black Swan, where Natalie Portman steadily lost her mind due to her obsessive dedication to her dreams of being a great dancer. But it’s not a new story. Back in 1948, The Archers produced a movie about ballet and tied it into Hans Christian Andersen’s cautionary tale of vanity, The Red Shoes.
The Red Shoes stars Moira Shearer as Victoria Page, a girl who wants to become a great ballet dancer. After being snapped up by top ballet producer Boris Lermentov (Anton Walbrook) where she is eventually cast as lead dancer in a ballet based on the aforementioned fairy tale. The music is being composed by a talented young composer named Julian Craster (Marius Goring), and he and Page begin a romantic affair. However, due to the demands of Lermentov, Page must choose between Craster and her career as a dancer.