Mubi Monday: Whisky Galore! (1949)

Known as the film about the little Scottish island that ends up receiving an unexpected windfall of whisky, hence the title, Whisky Galore! holds a place in the hearts of many who have seen it in the intervening decades since it was first release. Like many other Ealing Studios films, it taps into a particularly sweet vein of Britishness, mixed with great comedy and a dash of pathos. But it also has a bunch of Scottish people doing whatever it takes to keep hold of a surprise "delivery" of precious whisky.

The small island of Todday doesn't have too much going on. That doesn't stop Captain Waggett (Basil Radford), commander of the local Home Guard, from trying to keep everything done by the letter of the law. Military maneuvres are practiced, and everyone needs to be ready to do their bit for the greater good. It turns out that Captain Waggett and the islanders have very different ideas of what conssitutes the greater good when a ship containing 50,000 cases of whisky crashes near the island. Waggett wants that cargo kept safe, but everyone else wants to enjoy drinking it.

Based on a real-life incident that happened on the island of Eriskay, Whisky Galore! benefits from a great cast, solid direction from Alexander Mackendrick, and a wonderfully warm and witty screenplay by Compton Mackenzie (adapting his own novel) and Angus MacPhail. It has a brief 82-minute runtime, and brilliantly establishes a large selection of main characters who all end up playing vital roles in the third act set-piece that shows people finding imaginative hiding places for their whisky bottles.

Although he's mainly the villain of the piece, Radford is quite a delight in the role of Waggett. He's all about the precision and standards, no matter how unpopular that makes him on the island. Wylie Watson is also very good as Joseph Macroon, the father of two daughters, Peggy (Joan Greenwood) and Catriona (Gabrielle Blunt), who have caught the hearts of Sergeant Odd (Bruce Seton) and George Campbell (Gordon Jackson), respectively. Greenwood and Blunt light up the screen, Seton gets to break away from the stiffness of his character as he sides with the islanders, due to being compromised by his feelings, and Jackson is fantastic as a man living in fear of his domineering mother (Jean Cadell, delivering one unforgettable matriarchal turn).

There's a wonderful score, an occasional blast of the bagpipes, some traditional dancing, and some trickery employed to try and make the sinking ship and precious cargo seem as real as possible. The comedy is gentle, but there's no real tension (although that may be down to familiarity with the material). It doesn't matter though. You get to spend time with a great assortment of characters that you want to see achieve a small, but meaningful, victory for "the little man". Sometimes you need one stroke of good luck to turn your fortunes around. Sometimes you need much more than that. And sometimes you just need a wee dram.

9/10

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Filmstruck Friday: Tunes Of Glory (1960)

When you think of a film starring Alec Guinness that focuses on a battle of wills between two commanding officers then I would be very surprised if you didn't think of The Bridge On The River Kwai. That film is a gold-plated classic, and if you have yet to see it then please do so immediately. Tunes Of Glory, however, is no slouch. It may be a lesser-known film, certainly compared to "Kwai", but it's almost as good, and arguably more interesting in the way it shades the two main characters.

Guinness plays Jock Sinclair, a Colonel due to step down from his commanding position as another man steps in to take charge. That other man is Basil Barrow, a Lt. Col. played by John Mills, and he's very different from Sinclair. Barrow likes order and for his men to be on their best behaviour at all times, Sinclair prefers to let his men have fun, and thinks that people will easily forgive any perceived rudeness or social indiscretions committed by soldiers in high spirits. A lot of the soldiers side with Sinclair, who obviously has popularity, but a few support their new commander, and don't appreciate the friction being caused by Sinclair.

Director Ronald Neame (who had also used Guinnes so well in his previous film, The Horse's Mouth) has the great benefit of a near-perfect cast doing their best with a fantastic screenplay, written by James Kennaway, adapting his own novel. Which isn't to take anything away from Neame's work. He knows exactly how he wants each scene to play out and paces everything perfectly to give viewers plenty of time to chop and change their minds about the good or bad standing of various characters.

With his bright red hair and fine Scottish brogue, Guinness provides yet another acting masterclass in his portrayal of Sinclair. He's an obstinate, proud, man who is unwilling to consider compromise as anything other than a repudiation of all that he stands for. Mills is equally good in his role, although he has to sweat and twitch a bit too much during the moments that see his unflappable demeanour being pushed to the . . . flappable. Gordon Jackson also excels, playing a decent soldier trying to help the new commander in his role. It's testament to both the script and the performance that Jackson never comes across as a sycophant or goody-two-shoes. He's stuck between two men he admires in different ways. Dennis Price also gives a great turn, taking on the role of the one man who will call out both Sinclair and Barrow on their mis-steps. Kay Walsh gets the one main female role, although Susannah York has a small part to play too, and there's a fine selection of supporting actors, including John Fraser, Duncan Macrae, Percy Herbert, and Allan Cuthbertson, as well as many other wonderful faces.

Full of pipe music, whisky, and moments in which tempers flare, Tunes Of Glory is steeped in Scottish flavour throughout, yet also remains a quintessentially British film. It's about doing your duty, about being in a position that you wish to see as being beyond reproach, and about the overriding need to save face above all else. Yep, quintessentially British.

8/10

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The Quatermass Xperiment (1955)

AKA The Creeping Unknown.

I first encountered the character of Professor Quatermass many years ago, when I first saw the superb Quatermass And The Pit. He was played in that movie by Andrew Keir and back when I was a young boy I didn't even realise the history of the character. I didn't know that he'd been introduced to people in radio dramas and then television and I wasn't even aware of this film, the first to feature the character on the big screen.

Anyway, this film sees Quatermass (played by Brian Donlevy) called into action when a rocket (launched by a team led by the Professor) crash lands in the English countryside and only has one survivor (Victor Carroon, played by Richard Wordsworth) inside. Three went up, only one came back. Quatermass wants to figure out what went wrong, and what has turned the lone survivor into a mute shell of his former self, while Inspector Lomax (Jack Warner) is also wanting answers. Quatermass calls it a scientific matter requiring a scientific approach while Lomax argues that he needs to do his job, regardless of the unusual setting and situation. The two men find themselves working together as Victor Carroon escapes from those watching him, becoming more and more dangerous with each hour he's on the loose.

Directed by Val Guest, who helped shape the screenplay with Richard H, Landau as they adapted the television play by Nigel Kneale, this is a very low-key affair that plays out, for the most part, exactly as you'd expect an adapted piece of television to play out. There are some nice exterior shots, but most of the action takes place in offices and medical facilities (and also, most memorably, Westminster Abbey). The film starts with a tone of mystery before revealing plenty in the second half, leading viewers by degrees from the sci-fi core through to the real horror of the premise.

Donlevy is far from the best actor to have been given the role of Quatermass. I have to agree with Nigel Kneale, who wanted UK actors anyway, and found Donlevy to be far too unsympathetic and implausible in the role. He's not terrible in the role. However, he's just not on a par with the likes of Andrew Keir or Andre Morell. Jack Warner is decent as Lomax, David King-Wood is fine as a puzzled doctor and Margia Dean does well as the distraught wife of the suffering Victor Carroon. Wordsworth may have his performance overshadowed by some special effects here and there, but he's also pretty good (especially in the scene with him meeting a young Jane Asher in a moment reminiscent of Frankenstein). Great support comes from the likes of Lionel Jeffries, Thora Hird and Gordon Jackson, although the latter actor is hardly in the film for more than a minute.

All of the Quatermass tales are enjoyable adventures, mixing some impressively tense moments with intelligence and a very British approach to potential impending doom. This is certainly worth your time, even if it's not the best one (that would be the mighty Quatermass And The Pit, in my opinion).

7/10

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