La avalancha

I recently purchased this outstanding movie on video. Michael Redgrave has always been one of the finest actors of his generation and his performance in this film only serves to strenghten my opinion. I was very surprised by the way a film of this era, concentrated so much on the social and economic deprivation of the mining community in Great Britan, surely one of the largest workforce of the time. The struggle for better conditions and the respect of their employers as workers and human beings is perhaps the crux of this story but the underlying sub-plots of human greed and subterfuge made sure my interest never waned. It is to me most memorable as a story of the ordinary man, struggling through adversity, always with dignity and self-respect. Despite the often bleak surroudings and the fact that it is also shot in B&W to maximize this atmosphere, it never depressed me and left me feeling good,long after the last of the credits had rolled.

For those whose taste in movies runs to films of social significance, you cannot go wrong with The Stars Look Down, a film from the United Kingdom about the coal mining industry in the days before the post World War II Labour Government nationalized the industry. Such a step would never have been contemplated in the mainstream political circles in the USA. The film makes a compelling case for it.

This film was a breakout success for Carol Reed who up to that time had been limited to what we call B picture features and what over the other side of the pond call quota quickies. It was produced by an independent studio called Grafton films and released here by the short lived Grand National Studios. Reed was contracted to Gainsborough Pictures and he was able to get fellow contractees Michael Redgrave, Margaret Lockwood, and Emlyn Williams for this production.

I don't think that Michael Redgrave was ever more idealistic on the screen than he was in The Stars Look Down. He plays a working class stiff who earns a scholarship to the university and he intends to use that education for the benefit of the miner class from where he comes. But this idealist is very human and he makes the wrong choice in a life partner in the form of pretty, but shallow Margaret Lockwood who sees him as a meal ticket to get ahead herself.

The guy who Lockwood was going with is Emlyn Williams who would be called a cad and a bounder over there. He's also a miner's kid, but his method of escape isn't exactly condoned in polite society, he becomes a bookmaker. Eventually he joins with management. One great thing about The Stars Look Down is we see where all these three characters came from and the values imparted to them.

Redgrave has two marvelous scenes that really stand out. The first is when he's in class and making an eloquent case in class for the government ownership of the coal mines. The second is before the Board of Trade arguing that the mine his father and others in his district is not safe because where they want to mine is holding back the sea itself. His own personal problems prevent the Board from listening to him. In both Redgrave personifies youthful idealism and impatience. In the end it's shown he has good reason to be impatient.

The film was shot on location at an actual colliery in Cumberland and the scenes depicting the mine disaster which is the climax of the film are frighteningly real and hold up well today. The film stands comparison to How Green Was My Valley which was a film on the same subject, but done in the poetical style of John Ford and done over here.

The Stars Look Down will still move the viewers and the problems of industrial safety are just as real today as they were when The Stars Look Down came out.

Director Carol Reeds version of A.J. Cronins novel of poverty, greed and unfulfilled dreams still seems fresh today despite its sixty years.

Michael Redgrave stars as Davey Fenwick, a bright man from a poor mining background, who wins a scholarship to university. He hopes to graduate and then enter politics, so as to work to end the suffering of his kith and kin and their ilk.

However, his plans change when he meets and falls in love with Jenny Sunley (played by Margaret Lockwood), a strikingly beautiful but manipulative and materialistic little minx who has just been cruelly dumped (why???) by her boyfriend, Daveys old friend, the ruthlessly ambitious Joe Gowlan (Emlyn Williams). Understandably smitten, Davey marries the lovely but self-centred Jenny and, at her instigation, quits university and moves home to work as a schoolteacher. But his world is turned upside down when trouble at the pit, Jennys restlessness and the reappearance of Joe, whom Jenny still loves and who is now flashily well-to-do,combine.

At the time, this was one of the most expensive films ever made in Britain. But it was well worth the investment. It assured Carol Reeds reputation and gave to film audiences and to posterity a grimly realistic picture of life at the sharp end in 30s Britain. The all-star cast too got a chance to show their ability, giving terrific performances; Redgrave is superb as the disillusioned idealist, Williams is thoroughly unpleasant as the unfeeling, cynical Joe while Margaret Lockwood, one-time screen ingénue in her first wicked girl role, gives a wonderful performance as the drop-dead gorgeous, vixenish, gold-digging Jenny.

As social commentary this is a great movie, but, on another, more profound level,it works as a dark, despairing canvas depicting the often destructive nature of human relationships. Essential viewing!

Michael Redgrave is the local boy done good, when he wins a scholarship to go to university to train to be a teacher. Unfortunately, he has fallen in love with the rather fickle "Jenny" (Margaret Lockwood) who has a bit of a venal streak. Curtailing his studies, he returns to live with her in his boyhood town intent on improving the lot of his community - but he is soon disillusioned when he sees his wife still keen on her flashy old flame "Joe" (Emlyn Williams) and that his elderly father looks set to have to work the mines for years to come... He accidentally discovers that the mine is unsafe, and determines to bring this to the attention of the council to avert disaster, but will they listen? Carol Reed allows this story plenty of room to breathe. Though not complex, we can see the characterisations develop as the story seems to head, unstoppably, towards disaster in quite a compelling fashion. Redgrave, Williams and Allan Jeayes as mine owner "Barras" work well to create a solid, if a bit dryly told, story of greed and exploitation with some superbly claustrophobic mining photography to add authenticity.

This appeared recently on BBC4's 'Coal night' - and seems an apposite choice given the subject matter.

My earliest memory of this story (I'm 42) is the 1974 serial produced when ITV still mattered and wasn't riddled with reality TV, puerile so called comedy and makeover shows. The 'drama' offered up by the third channel now is so lightweight the thought of the likes of the 21st century equivalent of Avril Elgar appearing it seems light years away from what could be described as reality (in the non vacuous sense). It was excellent, as I recall, but I didn't post this just to rant at the decline of ITV's quality standards, that's been done to death elsewhere.

So, the film - it's always refreshing and very pleasing to come across something 'new' from someone who has already earned their spurs elsewhere. Carol Reed needs no introduction to the cognoscenti of cinema - anyone who has seen 'The Third Man' or 'Fallen Idol' will testify to that! What's so good about this film is not only the beautiful evocation of a world long gone (it was made in 1939, just before the outbreak of WW2), but also gives an indication of just how difficult working class life must have been. If you did not work, you did not eat. Pretty much all the people who worked on this film are long dead, but watching it, and with an eye for the accuracy of how social history is portrayed, it's hard not to be moved by the grim reality of the inevitability of 'life down 'pit'. You're born into griding poverty, you grow up a friendly ragamuffin, you mine, you get old, you die.

Unless, of course, you're asked to mine Scupper Flats. The story itself is a strong one. In the days when mine owners swanned around in posh cars and deigned to show up at the pit once in a blue moon, the safety of being asked to mine a new face is called into question by idealistic young Davey Fenwick, who, having got his hands dirty down the mine, attempts a better life by breaking away and trying to earn a degree from the local university. Of course, a woman gets in the way, and the beautiful but manipulative and shallow Jenny Sunley (admirably played by Wicked Lady Margaret Lockwood) eyes an opportunity to 'better herself' financially and persuades Davey to drop out and become a school teacher. Eventually, Davey's idealism and pragmatic suspicions are proved correct, with tragic consequences.

Beautifully acted from a time when real craftsmanship went into British film making, the piece stands not only as great entertainment (though it won't engage 'movie' buffs with short attention spans who think anything pre 2008 isn't worth bothering with), but also as a wonderful piece of social history and a look at an age that's well and truly passed. The portentous voice over at the end reinforces this beautifully, and its idealistic call to action makes me wonder if we really have learned anything at all in the 70 years that followed.