They Knew Mr. Knight

Starting with 'The Turn of the Tide' ten years earlier, religious faith had regularly occupied a central role in Norman Walker's films for the Rank Organisation; and this proved his final work within the 'mainstream' before he rolled his sleeves up and finally devoted himself fully to doing the Lord's work onscreen.

The action of this film version of Dorothy Whipple's 1934 novel covers several years, which also enables it to show the miracle of a very young - although not as young as she's playing - Joan Greenwood growing from a schoolgirl to a young woman.

This is how England was. Peaceful, beautiful and neighbourly. It's a wonderful film, if only the actors were a bit more real! I love this film, and hopefully my grandchildren and great grandchildren will watch it and learn what a lovely country England once was - only without the financiers!

Mervyn Johns has a chance encounter with famous high-power financier Alfred Drayton, who takes a liking to him and eventually his entire family, much to their delight. The financier and his wife, Olive Sloane, assume an almost paternalistic role with the Blake family helping to facilitate the family's escalation in class as Drayton makes a loan to revive Johns' business. However, Johns' business struggles even though he puts heart and soul into it and he realizes that he can't make it and satisfy the family's desires of bigger and better things without moving out on the risk curve. Johns in this role is truly an endearing character that many of us can relate. The direction is excellent as it has the right balance of being a heartwarming tale without losing sight of the seriousness of the reality of what is taking place. The cast is excellent as well. This is storytelling at its best with enough complexity delivered at a reasonable pace to hold your interest. Recommended.

"Mr. Knight" (Alfred Drayton) is the archetypal man made good. He walks to his first class railway carriage every morning fêted by the staff and the management. One morning he is prevented from treading on a banana skin on the steps by the struggling mill owner "Blake" (Mervyn Johns) and soon the two are inseparable. "Blake" is ambitious for success - for himself and his large family, and hopes his association with this successful man will bring him good fortune. Initially it does, and they move to big house and acquire the trappings of luxury - but as with anything that looks too good to be true, it usually is. Things take a turn for the worst and the friendship turns sour leaving "Blake" with quite an headache. This is a simple enough story of greed. Not necessarily of the venal sort. In the beginning "Blake" wants his money for his family - a laudable motive, no doubt. Like "Scrooge", though, his character finds the pursuit of wealth addictive. He gradually becomes subsumed by the need to make more, and more. Enough is never enough. When the bottom falls out of his dream, he is bereft - but not just of the cash, but of his integrity and his soul. His children are also quite an effective barometer of the toxicity of wealth too - not least the spoiled and selfish "Freda" (a strong performance from Joyce Howard) and his other daughter "Ruth" (Joan Greenwood). Like many British films made immediately post-WWII, it has a message to it and this well assembled cast delivers it clearly. For a Britain in 1946 - there are few quick wins.

Mervyn Johns is the son of the man who used to own the local iron works, and a major works it was. His father had lost it all. Now Johns works for the place at a decent, if modest salary, raising, with his wife, three children. One day he encounters great financier Alfred Drayton, who advises him on how to regain control.

However, things begin to go awry. His children become snobbish, they move into a house they can't afford.... and financial pressures drive Johns to desperate measures... and to the truth.

Norman Walker directs this quietly religious movie, as he often did in those days, for Rank's WHV division of his film empire, the portion reserved for religious movies. It's perfectly cast, with Johns playing, as he did, a small man surrounded by a family that is, in the end, a loving one.

Some people will find this work, based on a novel by Dorothy Whipple, to be a bit overt. I, who have no clear faith of my own, find it a fine work about the human heart and its redemption.