The Beachcomber

There were two reasons why I looked forward to seeing 'The Beachcomber'. They were Robert Newton and Glynis Johns. Newton, off-screen a roisterer in the Richard Burton, Trevor Howard mould gave full-blooded performances in movies like 'Blackbeard the Pirate' and 'Treasure Island' and I loved his outrageous, eye-rolling style. And Glynis Johns has one of those scratchy, sexy voices that I find almost irresistible.

Imagine my disappointment to find Ms Johns playing a pious missionary nurse with a Welsh accent and no opportunity to sound sexy. Mind you she was nothing if not versatile, at one stage performing an appendectomy while later healing an elephant's injured trunk. And Newton, ideally cast as a drunken remittance man (the 'black sheep' of an upper class English family being paid to stay away) is at half power throughout, missing every chance for histrionics.

There's some pleasant location Technicolor photography in the pacific islands and a bar-room brawl hammier than anything john Ford ever choreographed for Messrs. Wayne and McGlagen but the practice of blacking up Donald Pleasance, Ronald Lewis and possibly others to play natives is always offensive.

The plot from usually interesting Somerset Maugham is just the old chestnut about the redemptive power of a good woman's love. Though there is another moral to the story – 'an elephant never forgets'

Having seen the 1938 Charles Laughton version, with a young and handsome Robert Newton in a minor role, I was intrigued to see the 1954 version. Although Laughton was a great character actor I was unmoved by the quirky 'romance' in the story. However, many years after his brief appearance with Laughton-and several pounds heavier, Newton is endearingly charming as the incorrigible Ted. He pervades warmth through the screen and his eyes are full of mischief-he clearly enjoyed this role (not too far removed from his own lovable but rebellious nature). There is a real chemistry between him and Glynis Johns-all the ladies in fact-and he appears to improvise for comic effect, several times. The minor characters lack charisma but all in all, this is a sweet and up-lifting film with a beautiful location.

Romantic drama adapted from a story by Somerset Maugham stars Glynis Johns and Robert Newton, who make a good pair, though vastly different from each other , as one's a hard drinking beachcomber and other is a psalm-singing missionary nurse, but that's part of fun cause you know that adage "never Twain shall meet" slowly ebbs away, especially when they end up battling cholera-infected island. This British film also stars Donald pleasance, who does a fine job as governor's adjutant, and Donald Sinden.

The story -Mr. Gray (Donald Sinden) is the new Resident in Charge of the Welcome Islands in the Indian Ocean. The Islands are full of life; the only other Europeans are the "sanctimonious, psalm-singing" brother-sister missionary team of Martha and Owen Jordans(Glynis Johns and Paul Rogers), and the Honourable Ted (Robert Newton) - a hard-drinking, womanizing social outcast whose English family pays him to stay away. Martha and Ted become an unlikely team when cholera threatens the islands and they must do their best to stop its spread.

The Beachcomber is a well-made, well-acted British romantic comedy with great performances from all the actors, especially from Glynis and Robert - they are both charming and comical. The island and its inhabitants and the tribulations they experience is nicely-etched. A pleasant afternoon film.

"Anyone who drinks water deserves all they get," says drunkard Ted as he travels to cholera-plagued islands with missionary/nurse Martha.

This is not dazzling film-making, but it is well-done and engaging, with a solid Maugham story, a marvelous turn by Donald Pleasance in his first role (as a perpetually smiling Indonesian clerk), and three notable stars:

Glynis Johns is a delight to watch, and she brings a lot of heart, soul, and spirit to Martha, a woman so inexperienced that she keeps her eyes wide open when a man kisses her for the first time.

Entering with a torn hat, filthy jacket over filthy undershirt, and five o'clock shadow, Robert Newton establishes himself immediately as an irresistible reprobate. Introducing himself to the new colonial kingpin, he scrounges a whiskey, announces that he's been banished from England, and says it's not so bad on Barru island: "There are ways of passing the time. Are you married? (answer no) Well, any time you feel like a little bit of fun, just let me know."

The third star, truly, is the locations in Sri Lanka and the colonial British islands of the South Atlantic. Not just gorgeous—fearfully gorgeous. There is a remarkable scene of an alligator attacking an elephant as it drinks. Hell of a fight, splashing, bellowing. The alligator wounds its trunk, but the elephant soon tramples the reptile, and then-- and this is wonderful—kicks its attacker ashore, and then, instead of just walking away, it kicks the corpse back into the water. That final kick, which is clearly unnecessary, seems almost punitive. And thrillingly deliberate. That elephant is a genuine character in the film-- not a big role, but a crucial one because of the ending, which reminds us that an elephant never forgets.

Muriel Box's first film in Technicolor is conspicuous by its absence from the current season on the South Bank; the presence of Donald Pleasance and Michael Hordern in blackface (the latter rendered almost recognisable under huge moustache) probably doesn't help. This second version of the novel by Somerset Maugham can however be seen by discerning viewers thanks to the miracle of Talking Pictures.

Although inevitably it can only fail to rise to the heights of the 1938 version but Robert Newton is a more than adequate substitute for Charles Laughton, while Glynis Jones (soon to celebrate her hundredth birthday) entirely lacks the eccentricity of the unique Elsa Lanchester but amply supplies her own cow-eyed charm.