21 Days

Of all the dramas that have ever graced the Silver Screen, some are better than others. Save for the very noteworthy cast, I don't know that there's anything so remarkable about '21 days' as to demand viewership. Yet its tale is suitably compelling to keep one watching, with surprising variety and balance squeezed into only 72 minutes. I didn't necessarily expect much when I sat to watch, but ultimately I find myself quite pleased with just how good this is.

Weirdly enough all the most significant characters are sympathetic in one fashion to another, if to different degrees: Wanda, the innocent romantic; Larry, the conflicted lover; Keith, the upstanding citizen and loyal brother; John Evan, the extraordinarily guilt-ridden vagrant. The dynamics between these characters, and the law's investigation of a homicide, provide all the fuel necessary for a slight but delicious film. Even outside those principle characters, other supporting figures are given delightful quirks to help them stand out. The dialogue is quite smart at points, as is the scene writing, and the narrative at large offers a tad more complexity than one might commonly assume of titles form this era, especially those of such relatively abbreviated length. Through to the very end '21 days' rather successfully inculcates minor airs of tension and suspense. My commendations to director Basil Dean and co-writer Graham Greene, for their adapted screenplay is richer than I supposed from the outside looking in.

True, there are tinges of ham-handedness at points that are a little excessive. The transitions that the editors employ are a bit needlessly embellished. Yet these seem like such minor considerations in the grand scheme of things, especially when the whole is broadly so engaging and satisfying. Vivien Leigh and Laurence Olivier have splendid chemistry and give noteworthy performances in what are the two chief roles; Leslie Banks and other co-stars are steady presences. Dean's direction is firm and mindful, neatly complementing his writing, and all facets of the production contributed from behind the scenes are just swell. This may be a picture in which the storytelling is specifically the key, but no one involved was a slouch by any means.

Again, this may not be an absolute must-see, or something to go out of your way to see. It's entertaining and very deserving, but perhaps not so grabbing as to be an essential drama. All the same, I'm pleasantly surprised by how well done the feature is, and how enjoyable. If you do have the chance to check out '21 days, then as far as I'm concerned this is well worth a mere 72 minutes of one's time.

Well played out story of a weak man(Olivier) who kills someone thru self-defense and then decides to hide the fact with his girlfriend(Leigh). His brother(running for Judge duties) helps in the cover-up. Unexpected ending a little disappointing, but follows with the character.

21 Days is directed by Basil Dean and adapted to screenplay by the director and Graham Greene from John Galsworthy's play The First and Last. It stars Vivien Leigh, Laurence Olivier, Leslie Banks, Francis L. Sullivan and David Horne.

When Larry Durrant (Olivier) accidentally kills his lover's husband, he decides to hide his crime and the couple embark on a whirlwind romance for the next twenty one days. However, with an innocent dupe on trial for the murder, Durrant's conscience begins to get the better of him.

If it didn't feature Olivier and Leigh then this would have been consigned to the forgotten bin and sealed up post haste. That the stars give it a curiosity value is a given, but one peak at the meagre back story backs up the fact that it really is rather a dull movie. Film was wrapped in 1938 but sat on the shelf for two years and was only released once Olivier and Leigh became big names in 1940. The two stars were more interested in playing footsie under the table than putting any acting depth into the production, something which greatly annoyed director Dean as he was trying to make a gripping crime drama. In fact Viv and Larry were so unhappy with how the film ended up, they reportedly walked out of a screening of it at the halfway point!

Picture is clearly meant to be a scathing observation on the folly of criminal law, wrapped around a male protagonist battling his moral codes as his heart goes pitter patter for a dame. Yet the picture rarely reaches dramatic heights, playing out more as a movie about young lovers inconvenienced by an accident, than one about a cruel twist of fate so pay your penance you loser. Olivier gives good quality mental anguish, again that is a given, but Leigh is just on the sidelines looking pretty and rarely impacting on the narrative. The other cast members work well enough, but everyone seems confused as to just what sort of tone to aim for, in fact taking their queues from Larry and Viv. While the ending lacks an edge, playing out more as a cheap cop out than anything else, geared once again towards how lovely the central couple are together.

Somehow finding its way into a British film noir DVD collection, that's a bit of a bum steer. However, little snippets of visual pleasures do provide bright spots in the viewing experience. The few scenes involving a foggy London of wet back streets and street lamps hint at where the director hoped his movie would dwell, and with cinematographer Jan Stallick photographing continually with shadows prominent, there's just enough to keep it from being a complete wash out on the tech side of things. Ultimately it's very disjointed, a tonally confusing picture in search of a more dramatic and thrilling home, director Dean knew it, producer Alexander Korda knew it, and crucially, so did Olivier and Leigh. Only the most staunch (biased) fans of the two stars can seriously think this is a good movie. 5/10

But not much plot. This was obviously a vehicle for its stars who were married at the time. Lawrence Olivier is quite wooden and stagey, Vivien glows, the camera just loves her. The story is a neat twist on ethics and morality with the wayward no-good brother standing firm for honesty and the uptight, successful barrister brother - on his way to becoming a judge - ready to hang an innocent man for a crime he did not commit. The twenty one days refer to the length of time the trial of this innocent man is going to take. The technical quality of the film was poor, the background of London was nearly washed out and the streets were obviously studio sets, not surprising, as it was filmed at the start of WW2. 5 out of 10, the ending was a bit of a let down and Larry really hams it up.

Although released in 1940 this picture was made in 1937, well before Leigh and Olivier were married. Producer Alexander Korda intended it as a career-boosting role for Leigh but, for whatever reasons, it was put-aside. Columbia bought the property in 1939 and released it after Leigh's success in "Gone with the wind".

The 1937 date explains what must seem to be an anomaly for modern audiences - the sympathetic treatment of the "Axis" characters, ie the German landlord and the Italian grocer.

Well-worth watching - the depth of talent in the supporting roles (Francis L Sullivan, Hay Petrie, Robert Newton etc) is notable.