The Young Mr. Pitt

The Young Mr. Pitt is a well mounted rather civil wartime propaganda minus the bellicose dehumanization of the enemy, substituting revolutionary France (Vichy ruled during the making) and the Little Corproral (Herbert Lom) as the latest megalomaniac in search of world domination.

The son of a former prime minister, Pitt (Robert Donat) is given the position by the flaky King George lll (Raymond Lovell) but faces heavy opposition in Parliament from the likes of James Fox (Robert Morely). His greatest enemy though is on The Continent and he is tasked with trying to get the British people up to speed on this threat while facing strong opposition at home.

Donat is spot on noble as Pitt whether passionately speaking on the house floor or in private conversation, his oratory avoiding bombast, exuding sincerity. There's a nice foppish turn from Morely and a discombobulated one from Lovell while Lom and Albert Lieven as Talleyrand fill the iniquity bill.

Directed a decade before his halcyon period of superb suspense films, Carol Reed's direction is hamstrung by a contrived romance (Pitt was a lifelong bachelor) as the film remains respectful and at times cloying but remains steadfastly patriotic from end to end, hence, mission accomplished.

I have no idea how a film starring the accomplished Robert Donat and a superb supporting cast could be disappointing, but it was. The film seemed to move in fits and starts, with Donat and Morley jabbing for 15 rounds. Napoleon was more energetic than either of them. He was well-played by Inspector Clouseau's boss, Herbert Lom.

We follow the rise of young Mr. Pitt, who ages rapidly into poor health and premature retirement during the conflict of England and France during the Napoleonic period. During this time, the US was a staunch ally of France, which was a major reason for the War of 1812.

We follow the victories of Lord Nelson on the seas, but there is no mention of Cromwell or Waterloo. The film was understandably talky (as that is what politicians do), but a few more examiniations of the military engagements would have been much more interesting.

Only in England, surely, would anyone set out to make a propaganda movie by quoting verbatim from 18th-century Parliamentary proceedings..!

Admittedly -- as shown in the sequences where Robert Donat, as the eponymous Prime Minister, is howled down in the House of Commons -- the gentlemen of that era did not always mince their words. Still, in common with so many other famous British propaganda products of the time -- "A Matter of Life and Death", "In Which We Serve", "Pimpernel Smith", "49th Parallel" -- "The Young Mr Pitt" is a sophisticated and amazingly literate piece of work: no cheap bashing of the enemy, no sentimental romanticising of the fickle mob, no principle or personage too elevated to bear a little gentle mockery. The film's subject is presented in a manner arguably verging on hagiography (Pitt is Right, Fox is Wrong, and the former has no vices beyond a tendency to self-sacrifice)... and yet it has no qualms, for example, in counterpointing Robert Donat's great patriotic speech towards the end of the film with images of Members of Parliament yawning or exchanging long-suffering glances as he orates. By refusing to treat itself with blind veneration, it creates a depth of subtlety that stands up well in its own right so many years later, where simple-minded tub-thumping would long since have become merely embarrassing.

The script is surprisingly funny, and often sparkles: when a naval official complains that he feels more at home at sea than in politics, Pitt returns the swift quip that his rival Fox will soon feel all at sea at home. We are introduced to the King known to history as 'Farmer George' over a bowl of home-grown royal turnips, and treated to the spectacle of the Prime Minister caught out by some very important guests in mid-pillow-fight with the children of his host. By leavening its message with humour, it humanises a potentially heavy-handed political slant.

It is, of course, a one-man show, and Robert Donat proves fully equal to the task. He begins the film portraying Pitt the Elder in old age, and then develops the title character from one mocked for his youth to the sick and prematurely aged man of the final reels; and does it without overwhelming awareness of cosmetic wizardry, and with the benefit of a pair of fine expressive eyes. John Mills has the somewhat thankless role of playing reformer William Wilberforce in what is essentially the role of hero's sidekick, the ever-present character to whom Pitt can voice his plans and dilemmas for the audience's benefit. Albert Lieven is memorable as the devious Talleyrand, and Leslie Bradley and Roy Emerton make an impression in the early part of the film as the famous heavyweights of the bare-knuckle boxing era, Mendoza and 'Gentleman' Jackson.

Featuring cameo scenes for characters ranging from Lord Nelson to Danton, the film is inevitably a quick canter through the relevant history. It doesn't pretend to be a deep political analysis of the period. But as a flag-waver it aims high, and compared to your average Hollywood 'biopic' it is quality entertainment. I saw this as the fourth film at the end of a hectic day, and even under such circumstances it stood out as a more ambitious vehicle than the -- perfectly enjoyable -- rest.

It doesn't have the complexity of a great picture. But it benefits fully from the restraint and talent of its era.

I first saw this film many years at school when the headmaster, a most enlightened man, had a film collector show it to us one afternoon. It made a lasting impression. It is beautifully made and wittily written. Donat gives an excellent performance as our most brilliant prime minister who gave his life, in effect, in the service of his country. There are also some superb cameos, most notably Robert Moreley as Charles James Fox. It gives an intriguing, if overdrawn, view of 18th century manners and behaviour. The House of Commons scenes, with members imitating clucking chickens to vent their disapproval is memorable. So no change there, then. And look out for the little man at the end of the row in No 10 as Pitt leaves office for the first time. Pitt lived to hear of Nelson's victory at Trafalgar, so it is not true, as one reviewer commented, that he died without knowing of Britain's victory over Napoleon. But why, with due respect, is it an American import? It is an essentially British film. Churchill raised the money to make it.

The eighteenth century was the most interesting century. It was the century when the modern world was born, when countries and empires were created and as Dickens described it: It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness etc. One of the most important people of that time was of course William Pitt so surely a film about the great man would be truly amazing?

Unfortunately although he was one of our greatest prime ministers, if not our greatest, he was famously dull. He would never have succeeded in this personality and media focussed age, he was focussed on just one thing: running the country and ensuring Napoleon's ambitions were thwarted. He had no significant relationships, no significant friends, no scandal, not even a social life. So, not the ideal subject for a film then!

Nevertheless Carol Reed does manage to inject some life into our hero. He is brilliantly portrayed by Robert Donat whose sense purpose we can very much empathise with. So despite the handicaps, Gaumont-British do pull a rabbit out of empty bag with this and make a pretty decent and very watchable biopic.