L'aimant

English films from right after the war — particularly those from Ealing or Archers — are a pretty interesting pocket to mine. Its a strange mix of experiments of all types. There's no predictability, no massive copying. Its as if everything is reset in a cultural medium and tastes need to be rediscovered or even reinvented.

This story as two elements. One is a story about a boy in a boy's clever world of invention and exploration. That's the bits you are meant to see. The other is overtly symbolic: his father is a clinical psychologist who has a need to "explain things." The story is about the hunger of certain stories, one would almost say the attraction or magnetism of stories, and that can be the only reason why the possession that triggers the story-story is a magnet.

What happens here is an ordinary episode triggers several fantastic stories, all of them with lives of their own as they adapt to live and propagate. There's extreme attention to symbols as if it were written by the psychologist: iron lungs, remote alarms, "secret" sign language, an invisible watch.

The story itself has minor charms. Its the loading of the overt symbols that is the fun part, especially since the writer seems to be poking fun at the notion of symbols the whole time.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

This film is very much of its time, and evokes a more gentler, long gone age. In many ways it is a typical "Ealing" film, although much location work takes place on Merseyside and, in particular New Brighton. I remember seeing this film on the children's' matinée in the 1950's - I enjoyed it then, and it has lost none of its charm now. It's main theme of "cheats not prospering" was a fine ideal then, and still applies today. The comparison of the affluent, comfortable, public school lifestyle of the main character to that of the boys he meets when he crosses the river to Liverpool, is very well drawn and brings an excellent sense of realism to the film. The location shots are first class, and lend an authenticity to the proceedings. The characters are, in the main, well portrayed and it's good to see another bravura performance from that most underrated of character actors, Meredith Edwards. All in all a lovely, timeless classic of a movie!

A lot of the film was shot in New Brighton, and I have added this to the database as a location. The pier and ferry are no longer there but the Floral Pavilion and Wilkie's fairground (where they try to influence the pinball machine with the magnet) are. The swimming baths where the Miss New Brighton Competition takes place has gone as well. The bike shop was Longworths in Rowson St. You went and chose your bike and Mr Longworth told you to come and collect it next week so he had time to put the seat at the right height, check the brakes,oil it for you and check the tyres.

Ealing often sent their crews to exotic locations and the claim in the opening credits that this fanciful whimsy was filmed at Ealing Studios - unusually without Alec Guinness - is ironically promptly contradicted by its's vivid rendering by cameraman Lionel Banes of the Merseyside locations around which a young 'William' Fox (as he was then called) is pursued; although Banes does also do an atmospheric job on the interiors.

What a refreshing sight this film was to be enjoyed with my ten year old son, who by coincidence, was the same age as the protagonist in this film. I shuddered to think that Joseph might be able to act in a similar fashion on several occasions when I was not present, but I trust he will not. The film is funny, sharp-witted, and intelligent in its satire. The British have an understated way of delivering these kind of gems to the screen; whereas Hollywood always goes for the big production values and star power most of the time. Only the small independent filmmakers in America have a chance at making a film like this. See it and enjoy. And be careful buying your son or daughter a large magnet.