De la bouche du cheval

This is probably my favorite movie. It may be overstatement to call a mere British comedy a timeless classic, but this outstanding movie, beneath its raucously madcap surface, has some very serious things to say about what it means to be an artist, to be driven by visions while living in a society that doesn't care. I think Guinness is the greatest actor of the century, and that his performance here as the maddening, irascible, impossible Gulley Jimson is the zenith of his movie roles. Kay Walsh, who partnered with Sir Alec in Tunes of Glory, is equally brilliant.

Having said that, I recently read Joyce Cary's novel, on which the movie is based, and I have to say that the book is much darker than the movie, which plays up the darkly comic scenes of the novel while diminishing - or even omitting - some of the darker moments. Still, the movie stands well on its own, even if it is a somewhat different entity than the book.

Alec Guinness not only stars in what amounts to a one-man show as aging, struggling London painter Gulley Jimson, he also wrote the script. Funny he got an Oscar nomination for the writing, and not for the acting.

As Jimson, Guinness is a memorably growly, seedy type, testament to the artistic impulse of man running afoul of polite society. Even his nasty Fagin from "Oliver Twist" was affable company; Jimson tells off his young admirer Nosey (Mike Morgan) with a convincingly hoarse "Go do something sensible, like shooting yourself." It's all for laughs, of course, except when "The Horse's Mouth" gets mildly serious, mostly when Jimson holds forth on his vision of art.

"Half a minute of revelation's worth a million years of know-nothing," he tells his companion Coker (Kay Walsh).

"Who lives a million years?" is her sharp reply.

"A million people every 12 months."

"A Horse's Mouth" isn't always so smart. Walsh plays her part too shrill, Morgan his too moony, and the artist who provided Jimson's paintings, John Bratby, uses too much red. After establishing Jimson, Guinness's script doesn't do much with him. He paints some walls, gets into some trouble, and sails away, leaving others to bear witness to his "genius".

What I like most about this film, other than Guinness's fine acting and occasional scenes here and there that feature his character to good effect, is the vivid picture you get of London circa the late 1950s, double-decker buses with hoardings for Gordon's Gin and Ty-Phoo Tea on their sides. Also, director Ronald Neame finds interesting angles to frame the film from in order to give the on-screen action (rarely painting itself, but frequently static conversation shots) a bit of vitality, and often outside with lively streetscape backdrops.

This is like a David Lean movie once removed. Neame was Lean's cinematographer in his early days, Guinness was Lean's favorite actor, and Walsh was Lean's ex-wife. Even Anne V. Coates, later the Oscar-winning editor of "Lawrence Of Arabia", snipped this as well.

She deserved her Oscar; not so Guinness his nomination here. As a comedy, "The Horse's Mouth" is a bit of a miss. A scene of Jimson ruining a rich couple's penthouse apartment is painfully unfunny, especially when a sculptor friend of Jimson (Michael Gough) arrives out of nowhere to add to the mess. Most of the other business in the movie, like a struggle between Jimson and his ex-wife for a portrait of her he needs for painting money, feels like chopped-down scenes from Cary's novel mined for easy laughs, at some expense to story.

I didn't care much about Jimson by story's end, but I did enjoy his company, or rather that of Guinness playing Jimson, staring at a charwoman and fixated by her feet, "...old women's feet...thin, flat, long...clinging to the ground like reptiles". Like much else in regard to the movie, I'm at a loss to what it means, but I value the experience. That counts for something with art.

My late wife, an artist, loved this film, and it gave me such insights into the way her mind worked. Guiness is wonderful; for once we see many levels of the character he portrays. Kay Walsh is so touching as the woman in his life, while Mike Morgan makes the perfect art groupie. It's funny to see Dr. Pastorious in old age; he has barely changed since Bride of Frankenstein.

The humor is gentle and quiet except for the studio renovation scene, but it is when Gully stands in front of a canvas that the truth of this film comes out. His almost soliloquy on the human foot; the scene where he shrugs and says that was not what he was trying to say, after he has ruined the toff's wall, these are priceless and our entry into an artist's mind. When the houseboat sets sail down the Thames, to the comment about the sea by the looney who pipes Gully aboard is a bit of perfection set on celluloid. He stands there, framing a vision of another canvas on the hull of a freighter, while reciting this wonderful doggerel that I always get mixed up when I try to say it, and all the while Nosey and Sara spur him on. I've never read the book and wonder if this represents his death, but I take from it what I will.

One other thought: there are certain films shot on location that should be filed away as time/place documentaries. This one is a perfect example: London 1958.

Highly original and entertaining, this film explores the bizarre world of artist Gulley Jimson (Alec Guinness) whom we meet as he is released from jail. He's a scammer and a reprobate, but he's also a great artist who doesn't believe in art. Yet he is compelled to paint.

With the help of maybe girl friend (Kay Walsh) they try to track down the paintings sold on the cheap to pay off the debts of his former wife (Renee Houston). The art dealer (Ernest Thesiger) is a crook and has cheated everyone by telling them the paintings are worthless. So Gulley tries to find an art patron who will support him. He finds an older couple of patrons but after they go on holiday, he moves into their apartment and trashes it while he paints a mural.

Gulley is always looking for "a big wall" on which to paint his big paintings and finally finds the side of a building about to be demolished. His compulsion is so great, he MUST paint on this wall but has no money, so he "sells" sections of the wall to amateurs who combine to create a fabulous urban mural (to his design). This project seems to assuage his compulsions, but after the wall's destruction he's off to find a new horizon... or is he? This is one of Guinness' great performances. In a comic role with serious undertones, few actors were ever better than Guinness, and he grabs onto this quirky role with great gusto. Indeed, Guinness even wrote the script (based on a novel by Joyce Cary). At age 44, he's totally believable as the grizzled 60-ish artist. The great and underrated Kay Walsh turns in a ferociously funny turn as the friend he owes money to. Walsh's character lives in fury that she has been cheated and short-changed by life. Together, Walsh and Guinness burn up the screen with their acting talent.

Co-stars add just the right touch. Houston and Thesiger are old pros. Michael Gough plays the obsessed sculptor. Veronica Turleigh and Robert Coote are fun as the art patrons. Gillian Vaughan is a hoot as the model. May Hallatt is funny as the scrub woman.

A special word must be said for Mike Morgan who plays Nosey, the adoring and gangling young man who follows Gulley everywhere. Morgan is just terrific here with just the right blend of awkward youth and that special British eccentric comedic touch. In his late 20s, Morgan died suddenly of meningitis before the film was finished, and several of his scenes were dubbed by another actor.

This is a great film.

Ingenious, fun, silly, playful, entertaining, strange. All of these things represent not only the movie, but of Alec Guinness' portrayal of Gully Jimson, a grainy, foul mouthed old artist, trying to make it in life through his paintings. We're introduced to him from jail, and it unfolds in the sense where learning about him is also either liking or hating what life has brought him to be. Just make sure that you're not going to be an artist, or his protégé (who takes an awful lot of bullying). This is another forgotten film in time in that it's perfect casting, and perfect direction. It's an effortless viewing movie that will bring much satisfaction to viewers of any age, who aren't familiar with Alec Guinness' work besides the obvious. His passionate, sometimes surly characterization of a brilliant painter is one that should last for the ages.