Cottage to Let

A very brisk, lightly entertaining wartime thriller with quite an exciting ensemble cast, the film is however burdened down by a strange, ill-explained plot, which borders both on being contrived and confusing. The characters are also rather run-of-the-mill, but they do interact quite well together. The picture has some interesting ideas, some neat mirror work, and it is generally amusing stuff. Overall nothing too special or highly memorable, but it has enough mystery elements and thriller elements worked into it that it is able to provide adequate entertainment, even if it is not a perfect watch as such.

A wartime evacuee from London arrives in a small Scottish village to stay in Mrs Barrington's cottage. However the arrival of a wounded Spitfire pilot and a mysterious bald gentleman means the boy must stay in the Barrington's house. At the house Mr Barrington and his assistant are working on a top-secret new bombsight to help the war effort. Ronald begins to notice strange behaviour in the village and gradually uncovers a plot to steal the bomb sight when it is developed.

This is a typically jaunty British wartime adventure which contains some gentle laughs and a quite good `who-done-it' style plot. Our eyes come in the form of cockney scamp Ronald as he notices some strange going on. The film manages to keep the mystery going by giving each character shadowy motives - we're not sure if they are a spy, a policeman, a rogue after the ladies, a scorned lover or what - but they all seem to have something going on. This makes it more enjoyable that it sounds and it isn't until the final 20 minutes when it all starts to come together. The famous cast makes it enjoyable - surely none of them could be the spy!?

George Cole shows his lifetime career in a good performance as a cheeky cockney scamp. Mills enjoys himself in his usual war hero role. Leslie Banks plays it straight as the inventor Mr Barrington, while Alistair Sim has the most fun in his shadowy role (he would later work with Cole as an adult on the St Trinians series). The only other role that stands out is De Casalis as the dippy Mrs Barrington, she gives plenty of gentle laughs.

Overall a gentle wartime adventure that has plenty of mystery and nice touches to keep you interested.

Others have discussed the plot and acting in "Cottage to Let" (aka, "Bombsight Stolen"). To tell too much would take away from the enjoyment of this film. Some have said it has a slow start. But without such a background and build-up for so many characters, I think we'd be lost. At least one reviewer doubted the probability of such a scenario. I agree with the majority that this is an excellent war mystery and spy thriller. The cast is superb, with some big names of English theater and filmdom – John Mills, Alastair Sim, Michael Wilding, Leslie Banks, and others. And, it has an excellent supporting cast.

Of course, this is a fiction story, as are so many of war-time. But as to the likelihood of something like it happening or not, one should consider some other factors. This movie was released in England on Sept. 6, 1941. The U.S. was not as yet in the war, even though most of Europe by then had been overrun by Nazi Germany. The official start of World War II was two years earlier. On Sept. 3, 1939, Britain and France had declared war on Germany after it invaded Poland.

The Battle of Britain was waged from July 10 to Oct. 31, 1940, with Germany bombing London, major ports, and other large cities. Even after Britain won this battle for air superiority, Germany continued to bomb London and other cities. As this film noted, Londoners sent their children to country locations to keep them safe from the bombing raids. And, in fact, many British secret operations, including research and war design work were in locales across the country – away from the population and large military bases.

Even after the U.S. entered the war and began sending troops to England in 1942, the Allies continued to disperse many of their war-time operations across the countryside. Many special projects were going on, none of which would be common knowledge to the public or reported in the press at the time. Only after the war did we learn about them. Movies have been made about some even decades later. All are interesting tales. Among the ones I've seen and enjoyed are: "Secret Flight" (aka, "School for Secrets") in 1946; "The Small Back Room" (aka, "Hour of Glory") in 1949; "The Dam Busters" in 1955; and "Enigma" in 2001.

England had its share of German spies. British intelligence agencies broke up some German espionage rings working for the Abwehr, the German military intelligence service. And, Germany had tried to land agents by submarine in Scotland. No one knew or could imagine to what extent German agents or spies may be operating in England. So, this film was timely as well.

I am curious though, about the late date of release of the film in the U.S. – May of 1943, Most of the British-made films during the war were released a year or more later in the U.S. One reviewer said that the Brits preferred American war films to those of the British film studios. I doubt there is any movie attendance or other data that would lend credence to such a statement. I'm sure the British public was drawn to all the war films that were being made at the time, regardless of the country source. No doubt, Englanders wanted to see some of the American movie stars they had come to know. At the same time, British studios were putting out some excellent films. Among them were "One of Our Aircraft is Missing," "Went the Day Well?," "In Which We Serve," "The Way Ahead," "49th Parallel," "Fires Were Started," "Convoy," "Freedom Radio," "The Day Will Dawn," "The Next of Kin," "The Foreman Went to France," "The Bells Go Down," "The Silver Fleet," and "Undercover."

Many of the British post-war films also were excellent. I enjoy these films immensely, because they give us a look at the war from the eyes of British servicemen and public. Just as American films give others a view through Americans' eyes. The quality of the DVD I have with this film is rather poor. I hope a digitally mastered DVD will be produced one day soon.

Cottage to Let (1941)

There are so many characters, so many tinges of British accent, and such a parade of turncoats and double agents it's difficult to quite follow everything here. But stick it out. Or, in the extreme case (which I admit taking) see it twice. It's "quite worth it, I dare say."

A comedy on the surface, and quite funny all through, it's also a serious war movie, shot and released in the thick of World War II. The key theme is actually not the bomb sight design and the attempt by the government to protect its secret from spies. It's about loose lips. And looking for traitors among us.

So, here at this cottage near where a top scientist is working on a secret weapon idea, there is a parade of suspicious characters, and I mean characters, including the redoubtable Alastair Sim. There is a nutty family running the place, a couple of love affairs in the air, a bunch of secret messages sent by various messengers. I count rough twelve characters who matter, and if some are very minor, they are critical in some small way to the outcome. Allegiances are everything.

What makes the movie actually remarkable is that it holds to together so well. And it has a tight economy to the editing, and a fluidity to the filming, that keeps it really going. For some reason the lighting in the first half, and the interior scenes in general, is bright and flat (no Warner Bros. influence here I guess) but then there are some scenes later that are extraordinary in their dramatic atmosphere.

In fact, there are some ideas that prefigure famous later ones, like the auction that is interrupted by spies and good guys by bidding incorrectly, stolen by Hitchcock in "North by Northwest." Or even the ending which is a slim version of the mirror shootout by Welles in "Lady from Shanghai." It's quite an exciting finish (never mind the goofy millstone moment, which you'll see).

Anthony Asquith, the director, went on to make some mainstays of post-war British cinema, and that's yet another reason to appreciate this, as a precursor to his own work. But it also reveals a real intelligence for the movies. Evident and appreciated.

In the big view, it isn't the plot, which is necessarily contrived to give a message to the nation, but the many pieces, and the writing and acting in those pieces, that make the movie really strong. The one version out there (streaming on Netflix) is a weak print (and there is no DVD release, apparently) so the sound and even the richness of the visuals will hamper a good appreciation. Even so, give it a look. Alertly.

From the jaunty opening scenes to the thrilling ending, you could be forgiven for thinking 'Cottage To Let' was made during the post war period. But this film was released in 1941, when the outcome of the war was still in the balance.

The cast reflects the wealth of talent available in the British Film Industry at this time and for two decades onwards. Not a false note is struck: Jeannie De Casalis makes me laugh out loud playing the dotty wife (check out her introduction speech for John Mills at the fête). Leslie Banks turns in a precise low key performance. He is an antidote to all the eccentric and unbalanced scientists that were/are the staple of cinema-land. Michael Wilding is urbane and, in his scenes, a good foil for a crumpled Alistair Sim, or the intense and faintly menacing John Mills.

Sim, of course, had managed to get his protégé George Cole the part of Ronald. Cole had (I think) already played this role on the stage, but took to the sound stage like a fish to water. He moved and acted as if born to boom and camera. In an idle moment compare young George as Ronald with middle-aged George as Arthur Daley in TV's Minder. It's all there: the sideway looks, aggrieved voice, controlled energy, sheer believable and likable personality.

The film scores on all points for me. The script is realistic and economical, the supporting cast firmly wedded into the few sub-plots. Even the sets, one or two seem to have migrated from other films, are splendid and evocative. And the final denouement is probably one of the most menacing in wartime film, if not the wettest.