Einst ein Held

These are just a few notes on one of my favorite films, "Tunes of Glory," which I recently watched again in its new Criterion DVD release. The plot is well-described by many posters below, so I won't bother with that.

The more I watch this film, the more I appreciate the wealth of detailed characterization it contains. On Barrow's first meeting with the officers of the regiment, as he is introduced to the rotund Major "Dusty" Miller, note John Mills' quick downward glance of disapproval at the Major's corpulent gut. In the following scene, where Jock Sinclair offers Barrow a whiskey, Barrow courteously replies that whiskey does not agree with him, to Jock's dismay. We later learn that Barrow is emotionally unstable, has problems controlling his rage, and that his family life has broken up. Could alcoholism be an issue, explaining his aversion to whiskey? While Guinness and Mills are justly praised, I find the performance by Dennis Price as Major Charlie Scott to be very interesting as well. Bringing to mind Ralph Richardson, he exudes an oily, genteel but detached sort of upper-crust English manner that Colonel Sinclair gleefully mocks ("old boy, old boy, old boy"). When RSM Riddick (Percy Herbert, distractingly bringing to mind Michael Palin in appearance and exaggerated military manner) tries to officially express the doubts of those in his own strata in the military hierarchy about the prosecution of Jock Sinclair, Barrow's first reaction is curiously bemused and sarcastic ("you astonish me"). Barrow subsequently snaps into martinet mode and brusquely dismisses Riddick's petition. His initial bemusement, though, is telling in that his instinct is not to take this man, from a lower level of the social and military hierarchy, seriously at all, treating him almost as an unruly child who needs be put in his place. Having seen power struggles, personality clashes, and class divisions like this in my work experience, I see that this all rings true. As foreign, exotic, and strange as the setting, characters, and language are to an American like me, the themes of this story are so universal that they can be immediately appreciated by almost anyone who's experienced life to some degree.

As for the language, it's a delight to finally have a DVD with English subtitles to clarify some of the spoken lines. The picture, by the way, is excellent on the new DVD, except for the intermittent appearance of a dark streak down the right side of the screen near the end of the film. I would have thought this could be fixed with digital restoration, but the cost of that might have been prohibitive, and though a little distracting, it really doesn't spoil my enjoyment. I think it's fitting that there are no negative reviews here thus far.

As a very late reviewer I see that very much of what I would have said has already been said so I endorse rather than repeat it. What is surprising is that these lengthy perceptive and very admiring reviews have come not from the film's country of origin but from the USA where it seems to have struck a particular chord. Reviewers have noted Guinness's perhaps finest ever performance as well as, very unusually the fine ensemble playing where script, casting and direction must all have been of similar quality.

I would take issue with the reviewer who said that the Mills character would never have been given command. Clearly he had been highly educated, had a long and distinguished career in a headquarters job following a traumatic time as a POW of the Japanese. He would have at least earned some kind of moral right at the end of his career and in peacetime to be given the job that he believed he really wanted and might have thought to have been among friends. He would most likely have been highly respected owed favours and been able to pull strings. Had Jock Sinclair (Guinness) - unashamedly uneducated, rough and proud to have been educated in Barlinnie jail, Glasgow and deeply popular with his men not been the officer he replaced, most likely Colonel Barrow would have made a success of it. The whole entirely believable tragedy came about through the grotesque mischance that with these so different characters, one had to wrest command - and respect of the men - from the other. Colonel Barrow's fragility was only exposed when he tried to impose his English "civilising" ways on the one person whose whole being rejected them. Bad enough if it had been simply about class, here it was a battle for the Scottish soul. These deeper levels of conflict deriving from earlier historical intra-Scottish battles was suggested by one reviewer. The film tells a story which perhaps could have been set in almost any country with a strong military tradition - France. Germany, Japan etc rather like its near name-sake "Paths of Glory" by Stanley Kubrick set in WW1 France. Here though the central conflict presumably had very deep roots in Scottish ethnic and tribal history of clan wars, of Highlanders vs Lowlanders even of those supposed English-loving "traitors" who "sold" Scotland to "a parcel of rogues" (The English) in 1707. It may well be that for Sinclair, the entirely Anglicised Colonel Barrow (gin-drinking, aloof, distant and without a hint of a Scottish accent) represented exactly that kind of treacherous pseudo-Scot.

One reviewer describes it as "pure John Ford" leaving it unclear if he is suggesting that it was similar or derivative. With art in general, its lower and by definition least original forms ape others. This film does not ape any other - as already said the intensity of the conflict derives not just from class but from old old historical grievances between two intimately close nations. In "Old" Europe grievances and rivalries ran long and deep.

Just a rather sad footnote. One reviewer mentioned similarities to earlier John Ford/John Wayne movies. The entire John Wayne archive is to be seen on a continuously circulating basis on two of Britain's five national television channels State broadcaster the BBC and so-called public service broadcaster Channel 4. Yet in contrast Tunes of Glory has rarely been shown. It reappeared 2 years ago but in a poor quality print on a remote satellite channel which plays mainly public domain material. Many of Britain's fine vigorous quality films of the 1960s have never been shown at all on British television until a few months ago when again a very minor satellite channel started showing them: Otley, The Hireling, The Reckoning and others. I did not see them originally and it was revelation seeing the bold acting and directing talent which existed then and how sad is the current decline into the Lock Stock etc formulaic gangster stuff. Very curious indeed that great British films are not shown on the supposed British public service channels and it is left to small satellite channels Movies4Men and Simply Movies to show them. Very curious indeed. Public service broadcasting not in the service of the public.

Alec Guinness is an amazingly under-appreciated actor. While most remembered for his Obi-Wan character, this was one of his least interesting or demanding roles. Few today realize the depth and range of his characterizations as well as the realism that he infused his characters with in his previous films. He was one of the finest British actors and this film is yet another example of his skills.

Guinness plays an angry and blustering Scottish officer who may also be an alcoholic (he at least is a problem drinker and shows many signs of alcoholism). The film begins with this popular officer throwing a farewell party, of sorts, with the men in his command. It seems that Guinness was given temporary command but a replacement (John Mills) is due to arrive shortly--dashing Guinness' hopes for this position becoming permanent.

Because Guinness' character is so very flawed and petty, he does much to try to undermine the new C.O.. In particular, Mills is a "by the book" sort of officer and Guinness ignores changes Mills orders--and by example, derision and a lack of respect for Mills spreads through the ranks. Instead of behaving like officers and gentlemen, the men behave like this is some sort of popularity contest and they show contempt for their new leader. None of this is helped by Guinness' drinking, as it gets him in trouble and creates serious problems for the regiment.

While Mills, as usual, does a great job in the film playing a man who is suffering from Post-traumatic Stress Disorder, the film is definitely Guinness'. His boorish character is a great example of him once again immersing himself into a character and the way he responds to the tragedy near the end of the film gives the character great depth and a bit of sympathy--something you needed to make this a stand-out film.

The bottom line is that this film is extremely well-crafted. The acting is universally excellent, the script tense and well-written and the film is great unless you are the type of person who demands lots of action. While a film about the military, this is no action film. Wonderful.

I finally had the chance to see this film in its entirety on Bravo a few days ago. Ronald Neame was not a director of the first rank, and he probably wasnt even a director of the second, but this is NOT a directors picture. It is a picture carried by superb acting and a brilliant script.I am now convinced that Guinness was one of the greatest screen actors that ever lived-if not the greatest.. This performance surpasses even his Colonel Nicholson in Bridge on the River Kwai, or his magnificent performances in the Ealing comedies. His boorish, arrogant, but oddly touching and vulnerable Jock Sinclair is a full length portrait worthy of Rembrandt-or Dostoevsky.John Mills, as the "by the book " colonel, whose aloof exterior hides enormous psychic scars, is almost equally good.Dennis Price, as a friend who turns his back on Sinclair, and the superb Gordon Jackson ( he was a great actor long, long before Upstairs Downstairs)as a restrained, sensitive officer who tries ineffectually to help both antagonists, are almost equally good. All of the other performances are very fine.The films beautifully written, sometimes funny, usually achingly sad script is a profound meditation on honor, tradition, repression and class conflict. Guinnesses soliloquy at the end is one of the most heart-breaking moments in all of film.

One of the marks of a truly great actor is the ability to do both comedy and heavy roles. To contrast Guinness's portrayal here of Jock Sinclair with, say, his Professor Marcus in 'The Ladykillers' is to become aware of the protean range of his talent. (One cannot imagine, for instance, John Wayne doing comedy.) To my mind Alec Guinness is the premier actor of the century; his performances have immeasurably enriched my inner life.

I am not as enamored of "Tunes of Glory" as I am of, say, "Bridge on the River Kwai," but it is without question a powerful movie. The conflict between Sinclair and Barrow is palpable; I think, in particular, of Mill's violently trembling rage during the dancing scene, and Guinness's dismissive ridicule of Barrow's deepest confidences ("toy soldiers!") during his attempt to con him into clemency. Sinclair's grief-stricken collapse at the end is truly an unforgettable scene and a tribute to Guinness's power.