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BIRDS OF PREY aka THE PERFECT ALIBI (Dir: Basil Dean, 1930).
Birds of Prey, released in the US as The Perfect Alibi, is an early British talkie co-scripted by director / producer Dean and A A Milne.
Based upon Milne’s play The Fourth Wall, this creaky thriller has little of the whimsical charm of Winnie the Pooh. Rather the story concerns the murder investigation, by Frank Lawton and Dorothy Byrd, of their uncle and guardian C Aubrey Smith.
In effect, Birds of Prey is a murder mystery in which the audience know the identity of the murder. As such, its mild thrills are to be gleaned from how and when the killers will be caught. The whole affair is rather jolly and somewhat predictable. However, Nigel Bruce, in a supporting role here as a blustering major, is always entertaining and keep an eye out for an uncredited appearance by future British film legend Jack Hawkins.
100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME! Link below.
THE MAN IN THE SKY aka DECISION AGAINST TIME (Dir: Charles Crichton, 1957).
In 1955 the Ealing Studios were sold to the BBC for use as a production facility. Production of Ealing Films was moved to the MGM British Studios at Borehamwood and a distribution deal with MGM was secured. The deal was short lived; only 6 films were released through MGM and Ealing’s days as a production company were numbered.
The first movie to be released under the new deal was The Man in the Sky, retitled Decision Again Time for US audiences.
Ealing regular Jack Hawkins stars as a test pilot who must make a difficult, life threatening decision when the engine of his aircraft fails. Elizabeth Sellars co-stars as his wife who believes her husband puts himself at unnecessary risk.
Hawkins does well in one of his many stoic action hero roles and is ably supported by a fine supporting cast including Brit acting legends Lionel Jeffries, Donald Pleasence and Megs Jenkins. Charles Crichton, better known for helming comedy classics Hue and Cry (1947) and The Lavender Hill Mob (1951), proves adept at combining highflying thrills with the earthbound familial trails in what might have been an uneasy mix of domestic drama and disaster movie.
The suspense is held to the final reel in this fairly tense and absorbing drama which, while perhaps not quite top drawer Ealing, is still a quality product with much to recommend it. Aircraft connoisseurs will enjoy the location footage shot at Pendeford Airfield and the Bristol Freighter plane which Hawkins pilots.
Check out my blog jinglebonesmovietime.blogspot.com for more reviews of vintage Ealing Studios classics!
Movie number 58: The Long Arm aka The Third Key (Charles Frend, 1956).
The final movie shot at Ealing Studios before production shifted to the MGM British Studios. The Long Arm, retitled The Third Key in the US, stars Jack Hawkins as phlegmatic detective superintendent Tom Halliday, busy pursuing a safecracker while neglecting his family.
Charles Frend directs in a somewhat low-key documentary style which recalls earlier Ealing police drama The Blue Lamp (Basil Dearden, 1950). The attempted realistic portrayal of unglamorous, often mundane police work results in a movie which is less a thriller and more a police procedural drama.
Hawkins is as dependable as ever in the lead and the film benefits from its use of real life locations, in particular an exciting climax at the Royal Festival Hall.
While not quite as satisfying a movie as the classic The Blue Lamp, The Long Arm is still a neat little drama; notable for both its place in British film history and its considerable entertainment value.
TOUCH AND GO (Dir: Michael Truman, 1955).
Jack Hawkins makes a rare foray into comedy in this lightweight, late period effort from the Ealing Studios.
Following a disagreement with his boss, furniture designer Jim Fletcher (Hawkins) makes the snap decision to emigrate to Australia. Less than enthusiastic are his wife Helen (Margaret Johnston) and teenage daughter Peggy (June Thorburn) with concerns for the family cat and Peggy's new sweetheart.
Aside from the excellent The League of Gentlemen (Basil Dearden, 1960), comedy was not really Jack Hawkins’ forte. Although an otherwise fine dramatic actor, he often seemed a little uncomfortable in domestic situations and was at his best as stoic men of action. Oddly, Hawkins was far more convincing as a naval officer or a pilot than he ever was as husband or father and his performance here is rather broad and lacking in subtlety. In fairness, he is given little to work with in a role which involves little more than expressing exasperation at his wife and daughter.
Scenarist William Rose was an accomplished comedy writer; responsible for Ealing classics such as The Maggie (Alexander Mackendrick, 1954) and The Ladykillers (Alexander Mackendrick, 1955) and later co-scripting Hollywood epic It’s a Mad, Mad, Mad, Mad World (Stanley Kramer,1955). So it is all the more surprising that Touch and Go doesn’t quite deliver the goods. Its attempts at humour are somewhat laboured and never raise the hoped for big laughs in a plot which offers no surprises; the denouncement can be guessed within the first 10 minutes. Which is not to suggest the movie is without merit. It ambles along nicely enough and certainly provides some mild chuckles. The muted colour palette is attractive and the atmosphere is cosily nostalgic.
Viewed today Touch and Go is a quaintly dated period piece. It does not rank among the greatest of Ealing Studios movies but neither is it a complete failure. Ultimately, it is just a little undistinguished and lacks the bite of other Ealing comedies. Still, it is a pleasant enough time waster that will certainly be of interest to Ealing completists.
100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME. Link below.
Jack Hawkins as Hamlet and Katherine Press as Ophelia in Trevor Nunn's production of Rosencrantz And Guildenstern Are Dead (2011)
Michael Benz as Horatio and Jack Hawkins as Hamlet in rehearsal for Rosencrantz and Guildenstern are Dead, Chichester Festival Theatre, 2011
Samuel Barnett, Jamie Parker and Jack Hawkins in "Rosencrantz and Guildenstern are Dead" (2011)
HAMLET: Nymph, in thy orisons be all my sins remembered.
OPHELIA: Good my lord, how does your honour for this many a day?
HAMLET: I humbly thank you; well, well, well.
OPHELIA: My lord, I have remembrances of yours, that I have longed long to re-deliver; I pray you, now receive them.
HAMLET: No, not I; I never gave you aught.
OPHELIA: My honoured lord, you know right well you did…
(They disappear talking into the wing.)
ROS: It’s like living in a public park!
GUIL: Very impressive. Yes, I thought your direct informal approach was going to stop this thing dead in its tracks there. If I might make a suggestion – shut up and sit down. Stop being perverse.
ROS (near tears): I’m not going to stand for it!
(A FEMALE FIGURE, ostensibly the QUEEN, enters. ROS marches up behind her, puts his hands over her eyes and says with a desperate frivolity.)
ROS: Guess who?!
PLAYER (having appeared in a downstage corner): Alfred!
(ROS lets go, spins around. He had been holding ALFRED, in his robe and blonde wig. PLAYER is in the downstage corner still. ROS comes down to that exit. The PLAYER does not budge. He and ROS stand toe to toe.)
ROS: Excuse me.
Raised By Wolves (2020) S01E07 — F A C E S