Passport to Pimlico

I saw this film as a boy living in Chelsea (next door to Pimlico) and found it utterly charming. Curious, isn't it, how a film that one appreciated so long ago should remain firmly embedded in the memory. Other critics and reviewers have discussed the plot and actors, so there is no point in repeating their revelations. I would say, though, that it reminds me, in retrospect, of THE MOUSE THAT ROARED in its approach to the, ahem, inconsistencies of life. And it brought Post WWII London to life with clarity and power, with cinematography and dialogue that were entirely to the point. My complaint, now that I live in the U.S., is why the **** we can't get this film on VHS or DVD for enjoyment here. Much like that other spectacular comedy of a few years later, GENEVIEVE.

When an unexploded bomb goes up in a street in the London area of Pimlico, it exposes a cave containing goblets, gold, art and other valuable artefacts. The gold is immediately claimed by the crown, but expert Professor Hatton-Jones comes forward with a royal charter that proves the area is legally Burgundy. With their newfound independence, the residents scrap rationing, opening hours and adopt an altogether more continental lifestyle. However Whitehall cuts them off, leaving Pimlico overrun by undesirables seeking refuge from England's laws. Things get harder as the political tensions between the two `countries' increase.

In true Ealing fashion, this is a gently comic satire on the British way of rule. In Pimlico, the residents are fast to turn their back on England in favour of a life outside of rationing and rules. Needless to say things don't go quite as they planned. As a satire, it doesn't totally work as not all it's points and digs are on target - in fact at times I wasn't sure what it was aiming at. However this is not to say that it isn't consistently amusing because it is. The basic plot is enjoyably slick and reminded me in essence of The Mouse That Roared. The laughs are rarely belly laughs but it produced a consistent chuckle in me as it was rather disarming and enjoyable. The more fanciful it becomes the more whimsical it feels - it never gets silly because the tone is so well pitched throughout to avoid it being daft at any point.

I nearly fell off my seat when I read another review on this page that said the cast were a bunch of unknowns! If you don't recognise at least six or seven faces with ease then this must be your first ever British comedy made pre-1960. Holloway, Huntley, Tafler and all the leads are all as good as ever and the bonus of Margaret Rutherford and some really memorable dialogue just makes things better. Even for those only familiar with the Carry On chapter of British comedy we have Charles Hawtrey in a young looking appearance here. Everyone handles the material very well and many of them are blessed with some sparky dialogue.

Overall this is an enjoyable little film that has digs at the British government and way of life but ultimately acknowledges England as the best place to be - for all it's rain, low temperatures and taxation, it's better than going it alone! A witty little film that will please any audience that is in the mood for a bit of Ealing whimsy (and who isn't?).

Say what you like about the cinematic importance of the Ealing Studios comedies of the late 1940s and early 1950s, but nobody can deny that pretty much all of them have a lot of heart, and always provide 90 minutes of solid, quirky entertainment. My #7 film from the studio is 'Passport to Pimlico (1949),' directed by Henry Cornelius {in his directorial debut}, which tells the peculiar story of a small London district that unexpectedly becomes its own separate nation. After a bomb left over from WWII accidentally detonates underground, a local resident of Pimlico discovers a stash of treasure belonging to Charles VII "The Rash", the last Duke of Burgundy. Also discovered is an ancient document declaring that the small district, in actual fact, is the last existing slice of Burgundian land, effectively making it a country of its own. The small band of friendly residents are initially excited about this discovery, but have some misgivings when criminals and black-market dealers realise that the London police have absolutely no jurisdiction in the streets of Pimlico. While the British government entangles the issue in lengths of red-tape, the newly-realised nation of Burgundy tries desperately to sort itself out.

The scenario behind 'Passport to Pimlico' really isn't as ludicrous as it initially sounds. The screenplay, written by T.E.B. Clarke {who also wrote 'The Lavender Hill Mob (1951)'}, was inspired by a real-life occurrence during World War Two, when the Canadian government decreed that a maternity ward belonged officially to the Netherlands, to accommodate the birth of Princess Juliana's child {under Dutch law, a royal heir had to be born in the Netherlands in order to be eligible for succession to the throne}. It also appears that some of the events in the film were based upon the Berlin Blockade (June 24, 1948 – May 11, 1949), in which Western forces bypassed the Soviet blockades to sectors of Berlin via airlifts of food and other provisions. In this film, the British government's attempts to starve-out the troublesome Burgundians prove unsuccessful after crowds of sympathetic Londoners bombard the district with supplies, even air-dropping a fully-grown pig with a parachute.

Though the story occasionally drags, 'Passport to Pimlico' proves worthwhile thanks to its unique storyline and a collection of entertaining characters. Police Constable Sid Spiller (Philip Stainton) is probably the film's funniest, particularly when he first realises the implications of Pimlico becoming its own nation ("Blimey, I'm a foreigner!") and when, working undercover to procure water for the reservoir, he must elude a drunk who simply insists on being arrested. Other notable players include Stanley Holloway, Betty Warren, Margaret Rutherford and Hermione Baddeley. Notably, Clarke's screenplay was nominated at the 1950 Oscars, and the film was nominated for Best British film at the 1950 BAFTA awards – in the latter category, Cornelius' film lost to Carol Reed's masterpiece 'The Third Man (1949),' but it was in good company. Also nominated were the other Ealing classics, 'Kind Hearts and Coronets,' 'Whisky Galore!' and {a favourite of mine} 'A Run For Your Money.'

They say that the Ealing era was the British film industry's finest hour. Today, they are certainly dated but in an inventive, often very funny way. Not quaint, nor sloppy, nor nostalgic. As such they are all very watchable (& enjoyable)

"Passport to..." to my mind, is the best that depicts the street level London directly after the War, with the close-knit community rallying round, but with that 'spirit' that saw them through the Blitz. So, there's wheeling and dealing, pushing their luck, practical jokes and a broad humour that's infectious.

The story is absolute mumbo-jumbo nonsense with the subliminal message mocking the bureaucratic minefield that was necessary in shaping a devastated Britain - and London. Job's worth petty rules fly in the face of common sense.

To my mind, this is the best Ealing that snapshots a time and a place - many of the scenes are shot out in the bombed-cleared areas rather than the studio. The cast are a ragbag of the well-knowns of the time and many, many extras from young ruffians to bowler-hatted officials. It's fun and can be watched many times over. This must be at least my sixth.

It must have seemed like a breath of fresh air at the time - years of the Ministries commanding everyone in that 'proper', clipped voice, about every little detail - which they all knew they had to dutifully do. And now, we can all have a 'right larf'! at their expense.

A bustling and, it is implied, unscrupulous gaggle of Britons waddles its way into the freshly, sloppily partitioned nation of Burgundy. For the new Burgundians, opportunity knocks on one door, while confusion beats down another. The cacophonous Nazi explosion that created Burgundy (and buried Pimlico) is now rivaled by the vociferous crowd, swarming through the former British district like Bedouins over the dunes of Arabia.

T. E. B. Clarke's screenplay, "Passport to Pimlico," in its superior comedic handling of legal, logistical and practical civil nightmares, is one of best political parodies ever filmed. Like Clarke's later "The Lavender Hill Mob," "Passport" holds its knot to British underpinnings of dignity and grace under pressure; what remains so comedic about both stories, however, is the loss of such maintained hegemony. The direction, by veteran Henry Cornelius ("I Am a Camera," dramatic basis of "Cabaret"), is sure, confident in a way that resembles the careful work of a helmer filming a story of his own, which, in fact, he is (a conceptual collaboration with Clarke). It has been said that the two based their outline of "Passport to Pimlico" on the Canadian government's gift of a provincial `room' to the Netherlands.

"Passport" is a great, funny, touching film, well known to subject historians and critics, worthy of popular re-discovery.