GOODBYE, MR. CHIPS (1939)

Mr. Chipping (Robert Donat) and one of his charges

GOODBYE, MR. CHIPS (1939). Director: Sam Wood.

Mr. Chipping (Robert Donat), affectionately known as "Chips," becomes teacher at a boys' school and after a few missteps with the unruly youngsters wins them over and becomes a beloved figure. At 83 and retired, he looks back over his life: his first awkward days at the school; meeting his beautiful wife, Katherine (Greer Garson), while on holiday; being turned down for headmaster; his own family tragedy; and his anguish at the deaths of so many of his students during WW1. Although Donat [The Winslow Boy] is a bit too caricatured as an man in his eighties, he gives a very good and sensitive performance, and is matched in quality by Garson [Madame Curie] as his loving and intelligent wife who helps guide him in his choices. There is such a talented bunch of young actors in this -- Terry Kilburn plays various generations of a boy named Colley (with John Mills as Colley as a young man) -- each of whom is a thorough professional. Billed as "Paul Von Hernried," Paul Henreid [Between Two Worlds] is also fine as the German teacher who befriends Chips and helps bring him out of his shell. This is also based on a novel by James Hilton, but I find it vastly superior to Lost Horizon. Although some aspects of the story may be a bit improbable (since when do little boys have such respect for elderly men?), this is a warmly sentimental and absorbing, well-made drama. One of the most moving scenes has Chips reading the names of many of the boys who have been killed in action. Goodbye, Mr. Chips won four academy awards for Best Actor, Best Actress, Best Direction, and Best Picture.

Verdict: Lovely old movie. ***1/2.

THE WINSLOW BOY (1948)

THE WINSLOW BOY (1948). Director: Anthony Asquith. Screenplay by Terence Rattigan, from his play.

Retired for health reasons, Arthur Winslow (Cedric Hardwicke) is disturbed to learn that his 12-year-old son Ronnie (Neil North) has been thrown out of the Royal Naval Cadets on a charge of stealing. Ronnie insists that he is innocent, and his father believes him -- and becomes increasingly angry at the fact that his son was never given a real chance to defend himself in a trial. Enter solicitor Sir Robert Morton (Robert Donat) a heavyweight who decides to take the case-- after grilling the boy intensely, almost savagely -- but the first hurdle will be to get past the fact that it is unheard of to, in effect, sue the Queen. We see the effect all the publicity has on the rest of the family, especially sister Catherine (Margaret Leighton) who may lose her fiance over the brouhaha. Even Ronnie's mother wonders if it's worth the financial cost and everything else to pursue the matter. The film works up quite a bit of suspense in wondering what will happen and what the outcome of the trial -- if there is one -- will be.

The Winslow Boy is the real deal. The characters are real, living, breathing, three-dimensional human beings, not stereotypes (even Morton, who at first does come off as a "type"). The acting by the entire cast is uniformly excellent, with Donat and Hardwicke neck and neck in the competition for most superb performance. And the movie rivets your attention from start to finish. Composer William Alwyn has contributed an almost [Richard] Straussian score. If I have any quibble with the film it's that I wish we were shown more details of the trial, considering the circumstances. NOTE: There was a creditable remake in 1999 as well as at least two television versions.

Verdict: Pounce! ****.

THE CITADEL

THE CITADEL. (1938) Director: King Vidor.

A doctor tries to do the noble, idealistic thing and help his patients -- poor coal miners who have developed tuberculosis from dust in the mines, among others -- but when his efforts are angrily rejected (to put it mildly) he eventually settles for ministering to wealthy, neurotic hypochondriacs until a tragedy sets him back on course. A glossy, professional, well-acted, workmanlike effort that gets across the basic ideas of the original novel by A.J. Cronin, but to 21st century eyes presents a somewhat artificial elucidation of its theme. It ends on a rather abrupt note after an excellent closing speech by Donat. King Vidor's direction is solid, Donat is strong, Russell, fortunately, more subdued than usual -- it's all just a little pat and superficial. Still, there are some very well-handled scenes, such as when Donat saves a baby's life, and breezily and dismissively chit chats with a kindly restaurant owner who is trying desperately to interest him in the illness of her beloved daughter.

Verdict: Not great but not without interest. **1/2.