A CHRISTMAS CAROL (1951)

Alistair Sim as Ebenezer Scrooge

A CHRISTMAS CAROL (1951). Director: Brian Desmond Hurst. NOTE: The colorized version, which I watched, is also known as Scrooge.

Ebenezer Scrooge (Alistair Sim) is a tightwad and rather heartless individual whose only response to the holiday season is "humbug!" On Christmas Eve the ghost of his late partner, Marley (Michael Hordern), appears to him, warns him that he's facing a dark future, and tells him that three more ghosts will appear, those of Christmas Past, Christmas Present, and Christmas Days to Come. Scrooge sees visions of his past and the pivotal events that shaped him, such as selling out his employer, Fezziwig (Roddy Hughes)  and losing the love of Alice, (Rona Anderson), the only woman he wanted to marry. He sees the plight of the poor and his own future, as well as that of his employee, Bob Crachit (Mervyn Johns) and his crippled son, Tim (Glyn Dearman). With these increasingly depressing visions, the true spirit of Christmas -- practicing kindness instead of cruelty -- finally takes possession of Ebenezer Scrooge.

"God bless us, everyone." Tiny Tim

A Christmas Carol is a wonderful movie, bolstered by a superb performance from Sim [The Belles of St. Trinian's], great supporting performances, a fine Richard Addinsell score, and superior direction from Hurst.  Every time the film comes near to being a trifle cloying, the next second I'd have a lump in my throat. In other words, you don't need to be Christian or even religious to enjoy and be moved by this picture and Charles Dickens' great story. George Cole plays young Scrooge; Patrick Macnee [The Avengers] is Marley as a young man; Hermione Baddeley is Crachit's wife; Kathleen Harrison is the hysterical Mrs. Dilber; and Ernest Thesiger is notable as Marley's anxious undertaker. Hurst also directed the dull Hungry Hill.

Verdict: Beautiful! ***1/2. 

THE OLD DARK HOUSE (1963)

Fenella Fielding and Tom Poston

THE OLD DARK HOUSE (1963). Produced and directed by William Castle. A Hammer Film.

Car salesman Tom Penderel (Tom Poston) is invited to his flat-mate Caspar Fenn's (Peter Bull) family mansion, but when he arrives finds his friend ensconced in a coffin in the parlor. Seems there was an accident ... Tom learns that members of the Fenn family are virtual prisoners in their decaying mansion due to the bizarre terms of a will, which states they must live on the estate and be back by midnight every night or forfeit their share of the interest. While Tom gets to know Caspar's cousins, Cecily (Janette Scott) and the man-hungry Morgana (Fenella Fielding), he discovers that one of the heirs won't stop at murder ... William Castle joined forces with Hammer films for this black comedy remake of the macabre thirties movie (which was in itself a black comedy, as I recall). The Old Dark House is less beloved than other William Castle films (such as House on Haunted Hill), but this time around I found it generally fast-paced and amusing, with a couple of genuinely hilarious murder sequences. Although not a zany comedian along the lines of Bob Hope or Jim Carrey, Poston's more sober portrayal works well as played against the weirdness of the mansion's other inhabitants. Peter Bull [Dr. Strangelove] is fun in a dual role, as are Robert Morley as an uncle, and Joyce Grenfell as an aunt, both of whom are rather peculiar. Mervyn Johns [Never Let Go] and Danny Green [The Ladykillers] also score as two other members of the strange family. As for the ladies, Scott is lovely and adept, and Fielding makes her mark as the predatory Morgana. The picture becomes a little too silly with all this business of one relative building an ark on the property, but The Old Dark House is still entertaining.  Benjamin Frankel's quirky score is a decided plus, and helps add needed suspense to the climax. Poston and Castle also teamed up for the dreadful Zotz the year before.

Verdict: Minor but fun Castle flick. **3/4.

NEVER LET GO

Peter Sellers

NEVER LET GO (1960). Director: John Guillermin.

John Cummings (Richard Todd) is a cosmetics salesman with a wife and children who thinks he might have a chance to really make good now that he owns a car. Unfortunately, his new automobile is stolen by a gang headed by crooked car dealer Lionel Meadows (Peter Sellers). Inspector Thomas (Noel Willman of The Kiss of the Vampire) admits that he couldn't care less about John's car but is out for bigger fish -- bringing down Meadows once and for all will be a cap in his feather. Desperate for his car, and refusing to back down after so many miserable things have happened, including being fired, John infuriates his wife, Anne (Elizabeth Sellars), by going after Meadows and his dangerous gang on his own. Todd [The Hasty Heart] gives a tremendously good performance in this and he is matched by Peter Sellers in a straight dramatic role, playing a nasty character who crushes one underling's fingers and slaps around his girlfriend, Jackie (Carol White). Sellers only chews the scenery in a couple of spots, but is otherwise marvelous. Adam Faith plays Tommy, the unfortunate boy with the damaged hand., and Mervyn Johns [Edward, My Son] has a nice bit as the ill-fated old man, Alfie. It all leads to an exciting climactic battle between the two adversaries.

Verdict: Proof that great actors can do drama as well as comedy. ***.

DEAD OF NIGHT (1945)

Michael Redgrave

DEAD OF NIGHT (1945). Directors: (Alberto) Cavalcanti; Charles Crichton; Basil Dearden; Robert Hamer.

Walter Craig (Mervyn Johns of Edward, My Son) comes to a house to see about a possible restoration, and encounters a group of people that he has seen in a dream. He wants to leave, because in his nightmare things end very badly, but some of the guests tell of their own peculiar experiences. Grainger (Anthony Baird), a racer who nearly died, has a vision of a hearse that warns him of disaster; a young girl, Sally (Sally Ann Howes) discovers the ghost of a little boy (uncredited) during an party in an old house; Peter Cortland (Ralph Michael) is given an antique mirror whose original owner comes to possess him; a triangle over a woman, Mary (Peggy Bryan) and two golf enthusiasts leads to comical, supernatural complications; and Dr. Van Straaten (Frederick Valk of Bad Blonde) relates the tale of a ventriloquist (Michael Redgrave), who is convinced that his dummy, Hugo, is alive and wants a new partner. The best tale by far is the last of the five, and it boasts an intriguing script and a superb performance from Redgrave, whose despair is palpable. The mirror story isn't bad, but the other two aren't that well developed. The fourth story about the golf enthusiasts is pretty stupid and not especially amusing. Georges Auric [Caesar and Cleopatra] has contributed an interesting score. In addition to the ventriloquist story, the most memorable sequence details poor Walter's exacting and delirious nightmare.

Verdict: Redgrave and the dummy make the movie. *** out of 4.

EDWARD, MY SON

Marital discord: Deborah Kerr and Spencer Tracy

EDWARD, MY SON (1949). Director: George Cukor.

"The trouble with drink is it makes it just a little bit uncouth."

Arnold Boult (Spencer Tracy) is determined to make sure that his son, Edward [who is never seen] has the greatest life possible, and commits all manner of crimes to insure this, his ruthlessness even driving people to suicide. His wife Evelyn (Deborah Kerr) watches in horror, tries to interfere, and turns to drink, only inspiring more contempt from her husband. Boult has an affair with his secretary, Miss Perrin (Leueen MacGrath), but finds her as disposable as most of the people in his life, including his partner Harry (Mervyn Johns). This absorbing, adult portrait of a supreme narcissist and his spoiled son packs a wallop, due to an excellent script by Donald Ogden Stewart [Keeper of the Flame]  and superb playing by Tracy [State of the Union] and Kerr [The End of the Affair]. MacGrath, Johns, Ian Hunter [Tower of London] as a doctor who is sympathetic to Evelyn, and Tilsa Page as Miss Foxley, are also excellent. 

Verdict: Powerful marital drama. ***1/2.