Chaussure à son pied

Hobson's Choice is a delightful old play that is set in Manchester in the United Kingdom during Edwardian times. Among other things we see during this film adaption of it are temperance marchers and suffragettes, reminders that women were too often looked on as chattel, especially if the man of the house is one Henry H. Hobson.

Hobson's pretty typical of the male Britisher in Edwardian times. As written by Harold Brighouse and played Charles Laughton, he's a blustering old tyrant who dominates his three daughters in every way possible. His wife is gone and the three daughters as he views it seem to have been put on earth to serve him. He pays none of them wages to live independently, but without realizing it he's grown quite dependent on them. Especially on his eldest played by Brenda DaBanzie.

She's practically running his custom made boot&shoe establishment so he can spend time lounging at the pub. But DaBanzie has had quite enough of that. If Laughton had his way she'd be living with him permanently. Brenda's got different plans. She's got her idea on a husband, a skilled craftsman who works in Hobson's shop named Willy Mossop. He's a mild mannered fellow who doesn't realize his own worth. But before the film ends, the worm does indeed turn.

If Hobson's Choice has a fault it's that the whole film centers around the three principals, no other characters are really developed here. But Laughton, DaBanzie and John Mills as Willy Mossop give absolutely perfect characterizations in their respective roles.

Charles Laughton gives one of his best screen performances for David Lean in Hobson's Choice. Imagine Captain Bligh as a comic character and you've got Hobson. My guess is that Hobson was very typical of his age in his sexist views of life. What his late wife must have put up with. His scenes with Brenda DaBanzie have a lot of the same spark that characterize his work with his wife Elsa Lanchester in other films.

Brenda DaBanzie was at the height of her career, this and her work in The Man Who Knew Too Much the following year are her best known roles. She matches Laughton every step of the way, they are really a delight to see and listen to, in fact the dialog in their scenes is so good you can enjoy just turning away and listening to the film.

John Mills also gets one of his best roles. He's a man who grows in confidence in himself through DaBanzie's efforts. In the end watch who is dictating to whom.

A friend of mine who's from the Manchester area said that the film was shot in the nearby town of Selford because it looked more like Manchester of the Edwardian era than Manchester of 1954 did. He also says that Laughton and the rest of the cast got the dialog and idiom of the Lancashire area down perfectly and were quite believable in their parts for a British audience, let alone an American one.

Hobson's choice is a great film from David Lean and should be seen again and again whenever it's broadcast.

Charles Laughton plays an alcoholic widower (and happy about it) with three adult daughters. The oldest of them, Maggie (Brenda de Banzie), is 30, and the other two are (I would guess) in their early 20s. He wants to marry off the younger two, but the eldest he finds useful to his bootmaking business. "You're too old," he tells her when she asks about her turn to be married. Well, Laughton has raised his daughter to be too shrewd for his own good! When faced with her father's challenge, she lands a fiancé within an hour. He is Willie Mossop (John Mills), one of Laughton's own craftsmen (and thus of a lower class). Earlier the same day, a rich woman had walked into the bootshop for the sole purpose of praising Willie's master craftsmanship. Maggie is a clever businesswoman, and she figures that she can help a man with Willie's skill succeed. Laughton, of course, disapproves, but Maggie is too strong willed. And, again, clever. She quickly and flawlessly develops plans to come out above her father.

I haven't exactly said what the mood of this film is yet. It could be a drama, but it is a comedy of manners and class. It glides along with such an amazingly graceful wit, and it's oh so gentle. The budding relationship between Willie and Maggie is simply amazing to watch. The engagement and marriage begins as just a business engagement. I was actually worried that Maggie, so efficient, would destroy her husband's will. But she softens as she realizes what a lovable man she has shanghaied. The film contains one of the most remarkably funny sex scenes I can recall; well, pre-sex scene, of course. The couple's marriage day is winding to an end, and we see that Willie isn't quite sure what's to happen between them as he slowly gets ready for bed. We see how it all worked out the next morning when he won't even let his wife set a teacup and saucer down before he rushes at her with the first kiss of the morning.

It's also a lot of fun to see an old blowhard like Laughton's Hobson get his bubble burst. Laughton is easily one of the best actors in history. We have nothing half as good today. He's not especially likeable here, but he is awfully amusing. Near the film's open, the only way he can get up the stairs to bed while drunk is to do it at a sprint with his arms held out to balance. Lean's direction is quite good, as well. I am not extremely familiar with his entire career; I only know his three biggest films. I'm glad to have finally got to a humbler Lean. This is at least as good as Lawrence. I have to mention one other greatly subtle scene: Hobson, p****d in both the British and American meanings of the word, spies the reflection of the full moon in a puddle of rainwater. He imagines it looking down on him with contempt, so he rushes to it and stomps it. When the water becomes still again, the moon is back. Oh wait, no! It's not the moon, but Hobson's fat face filling in exactly where the moon had been! 9/10.

This film is still one of my all time favourites. The acting is superb, especially from Sir John Mills who delivers the most convincing piece of acting I have seen. Every part of this film is a joy to watch, from Charles Laughtons drunken behaviour to Brenda De Banzie's sheer determination to get what she wants by forcing Mills' character to stand up for himself once in his life.

They don't make films like this anymore, no profanity, no nudity and no innuendo.

A perfect family movie. You'd be mad to miss this next time you see it's coming on TV .

You're the owner of a shop that sells fine shoes, you have three daughters, lots of cash, and like to booze, but these girls they will not wed, you're hard earned stash will not be shed, as they're left without illusion, of your views. In response the oldest Maggie takes a chance, grabs the lad who's down below, leaves you askance, off she trots to set up shop, a little later you then drop, to find yourself in quite an awkward, circumstance. It's not too long before you're backed into a corner, as your Maggie has become quite a reformer, an ultimatum is presented, steams discharged, released and vented, then you retire to be placed, on the back burner.

Absolutely wonderful!

A far cry from the pomp and spectacle of Lean's later, grandiose productions, this gently romantic comedy of manners is based on Harold Brighouse's 1915 play, and sits alongside Great Expectations and Brief Encounter as one of the best films he made in black and white. Lean's restrained direction allows the sparkling scripts pithy banter plenty of room to breathe, whilst deftly avoiding the static wordiness inherent to most stage for screen adaptations.

At its core, Hobson's Choice has a towering performance by Charles Laughton, whose Henry Hobson is a marvelous mixture of snarling brute and whimpering child, huffing and sputtering his way through scene after scene of delightfully sexist dialogue. Crucially however, Laughton resists the temptation to go over the top, instead keeping his Hobson firmly on the plausible side of caricature, thus ensuring that the pathos of this potentially unlikeable character remains firmly intact, and whilst we eagerly await his comeuppance, we never lose sympathy for the curmudgeonly old fogey. Also outstanding is Brenda De Banzie as the long suffering but incredibly strong willed Maggie, an amazingly strong female character, made all the more remarkable given that the film has its origins in a text now 90 years old.

The crisp black and white photography, courtesy of Jack Hildyard(who also collaborated with Lean on his epic Bridge on the River Kwai) is stunning, beautifully capturing the grimy charm of its Victorian setting, and giving a vivid sense of gritty imtimacy to the dank interiors. Scenes featuring a drunken Hobson are gloriously realised, and gives rise to one of the films most enduring images, that of Hobson attacking the moons reflection in a puddle. Likewise, production design is impeccable, the crews recreation of Victorian era Salford even stretched to Lean throwing rubbish into the river Irwell(the council, on hearing that a film was to be made on location there, spared no expense clearing the riverbanks and water of any such refuse the week before cast and crew arrived, oblivious to the fact that this disarray was precisely the reason Lean and co. had chosen to shoot there).

This amiable comedy is often overlooked in favour of Leans more epic works, but to dismiss it out of hand as something the director cut his teeth on before moving on to better and brighter things would be a grave error. Its unassuming nature, and admittedly slightly saggy third act aside, it's a film with considerable charm, wit, eccentric characters and some hilarious set pieces.