A Town Like Alice

This is in black and white which underlines the great pathos of the story and its lost women in the war, having to wander hundreds of miles across Malaya as there is no place for them in the war of the Japanese in Asia. Yet there are a few interesting Japanese persons as well that must raise anyone's deep sympathy. The story is by Nevil Shute and as excellent as any of his outstanding novels, usually taken directly from his own experience or reality. However, the true story behind this formidable drama was about Dutch exiled ladies in Indonesia, which could be important to remember. Virginia MacKenna is always a joy to behold and here in a sarong more lovely and beautiful than ever - she and Peter Finch make the film an unforgettable experience. There was another screening of "A Town Like Alice" some 25 years later for television in many epoisodes, but it was bleak and bloodless in comparison. Here you feel the intensity of the drama and the terrible presence of the war and its implications in every scene, and it's all perfectly realistic, concentrating on the main thing. The TV series was much more extensive getting lost in unnecessary details and with less impressive actors, while this film will be a lasting monument forever.

I suppose that it should be confessed at the outset that I had the hots for Ms McEnna in her youth. Nevertheless, I still think that this is an excellent movie of the 1950's war genre.

Ginny and Peter Finch provide typically understated performances that are reminiscent of 'Ice Cold In Alex' and 'The Cruel Sea'. Solid, sterling, stiff-upper-lip-stuff that has no place in the spineless, simpering, metro-sexual third millennium.

I have never read Shute's novel, so I cannot comment on what liberties have been taken, but viewed without prejudice as a movie outlining Japanese brutality and human endurance it is still a well-realised piece of work. Everyone gives a thoroughly believable turn, both Caucasian and Oriental alike, as Ms McEnna's character concludes 'you can't really hate anyone' in the end. Though the Japanese - like their Nazi counterparts - did their very best to merit it.

Ms McKenna leads a group of unwanted western women and children, for whom no Japanese officer wants responsibility. So; they get shunted from one place to another, on foot, inadequately fed, and without medical assistance. Inevitably; they begin dying. Finch plays a captured Aussie running trucks for the Japanese. Filmed in black-&-white, in Britain and on location, it offers a very believable turn upon the miasmic swamps, crippling heat, humidity and deluging rain.

Of course, it's a love story too. And here again Ginny and Peter play their parts to perfection. I defy any true romantic not to be rendered lachrymose by her realisation of his survival and their final meeting at the end. Her hasty, last-minute application of cosmetics is particularly touching and well-observed. As if he'd care a hoot one way or the other.

It's a great old feel-good movie for the austerity generation. I give it nine stars and good luck to 'em all I say.

This film is in the same league as the series Tenko for it's realism. I have also watched the mini series which could have it's moments too but the film wins because of the fact that it was made around a decade after it had happened, when things must have been quite fresh in everyones minds. These women were taken captive as the men were but they were not wanted by anyone. These women were far away from home with no clothes apart from what they stood up in, no money and they didn't speak the language. Given those fact the thoughts are so scary!

I have just posted a comment on "Merry Christmas Mr Lawrence" directed by Nagisa Oshima in the early 1980s. The main originality of MCML does not lie in its subject, as other films have dealt with Prisoner-of-War camps under the Japanese rule, the most famous of them remaining "The Bridge on the River Kwai" by David Lean (1957). As MCML is a much more recent film, it might be considered as a more realistic approach to the daily life in a camp under such circumstances; yet realistic films on this subject appeared as early as in the 1950s with works like "A Town like Alice" directed by Jack Lee, which was rejected in its time by the Cannes Film Festival for its shocking content and violence — a sharp contrast with often romanticized productions where war has a glamorous aspect. "A Town like Alice" is also original for it tells war from the point of view of women, and women in conflicts are often ignored by war movies.

It has been years now since I watched "A Town like Alice". I remember it as a good and honest film about the conflict with the Japanese in the Far East. Virginia McKenna as a British nurse and Peter Finch were both convincing. It may be not the best film on WWII, yet it has an authenticity and favors a psychological and realistic approach to the characters than can attract many viewers, not just war movies freaks.

By the way, the title is a reference to the town of Alice Springs, where the story ends.

A Town Like Alice (1956)

A remarkable movie, completely under everyone's radar, about a group of English women in Asia during World War II. They suffer under the hands of the Japanese not as prisoners, quite, but as refugees caught between captors. Having nowhere to go and no one to protect them, they end up walking and walking, through jungle and no-man's land, past actual POW camps and through native villages, until gradually they start to die from the hardship.

Mixed into this really vivid and heartbreaking drama is a love affair between a passing Australian soldier and one of the women. The man is a prisoner of the Japanese who seems to have some freedom because he can fix things for them, and he crosses paths with the women a few times over the years.

Years, yes. The movie moves quickly through a long period of war. This is the real war for most people, the occupation by the Japanese and their arrogance, and the patience and impotence of ordinary people. It is told with alarming frankness. I mean, it's still a movie from the 1950s, not a documentary, but the plainness of the actors, the relatively low budget of the film, and the location shooting all make for a convincing final product. It's amazing, at times, and heartwarming as much as heartwrenching. There is even the one terribly good Japanese soldier trapped by the same bigger circumstance of a war that was not his doing.

The one known actor here is Peter Finch, who is marvelous, even though his role is limited. He is meant to be a bright spot in the life of this woman, and he is wonderfully bright and cheerful (a true Aussie stereotype that we all love).

The book that inspired the movie is widely regarded to this day, and was written by Nevil Shute, who heard about a group of Dutch (not English) women shuttled about by the Japanese in Dutch Malaysia during the war. It turns out that they were not usually made to walk, but Shute's misunderstanding of the story led to the main drama of the book and later movie. The crucifixion of prisoners by Japanese soldiers (shown in the movie) is substantiated, however, and it's a gruesome final turn of events for the plot.

There are few movies of this post-war period that really deal with ordinary suffering by ordinary people in Asia during the war (the suffering of civilians in Europe or Britain is fully shown, by contrast). This one does it well, very well. A wonderful surprise.