E le stelle stanno a guardare

I have to begin this review by saying I saw the U.S. edit of the movie. According to wikipedia, the unfortunate intro and outro are not in the English version, and there's an extra scene at the end.

Once you get past the useless introductory speech, this movie begins quite well, portraying a grim world and immediately giving one a feel for the plight of the miners.

For me, a difficulty came with the introduction of Margaret Lockwood's character. I admit there are selfish, empty headed people in the world, but they make for poor film characters. Fortunately it's a fairly small role, but it felt unnecessary to have her at all. She represents a melodramatic streak that unfortunately runs through the movie and lessens the overall impact.

While some parts were problematic, other parts are terrific, such as the mother's stoic attitude as her son goes off to college in which you see her feelings only when no one is looking. And the inevitable disaster is impressively handled.

I also didn't find Michael Redgrave complete believable. I'm not convinced he could develop such an upperclass accent no matter how hard he studied at the local schools.

While worth seeing, this could have been a better movie with a little less melodrama.

For those whose taste in movies runs to films of social significance, you cannot go wrong with The Stars Look Down, a film from the United Kingdom about the coal mining industry in the days before the post World War II Labour Government nationalized the industry. Such a step would never have been contemplated in the mainstream political circles in the USA. The film makes a compelling case for it.

This film was a breakout success for Carol Reed who up to that time had been limited to what we call B picture features and what over the other side of the pond call quota quickies. It was produced by an independent studio called Grafton films and released here by the short lived Grand National Studios. Reed was contracted to Gainsborough Pictures and he was able to get fellow contractees Michael Redgrave, Margaret Lockwood, and Emlyn Williams for this production.

I don't think that Michael Redgrave was ever more idealistic on the screen than he was in The Stars Look Down. He plays a working class stiff who earns a scholarship to the university and he intends to use that education for the benefit of the miner class from where he comes. But this idealist is very human and he makes the wrong choice in a life partner in the form of pretty, but shallow Margaret Lockwood who sees him as a meal ticket to get ahead herself.

The guy who Lockwood was going with is Emlyn Williams who would be called a cad and a bounder over there. He's also a miner's kid, but his method of escape isn't exactly condoned in polite society, he becomes a bookmaker. Eventually he joins with management. One great thing about The Stars Look Down is we see where all these three characters came from and the values imparted to them.

Redgrave has two marvelous scenes that really stand out. The first is when he's in class and making an eloquent case in class for the government ownership of the coal mines. The second is before the Board of Trade arguing that the mine his father and others in his district is not safe because where they want to mine is holding back the sea itself. His own personal problems prevent the Board from listening to him. In both Redgrave personifies youthful idealism and impatience. In the end it's shown he has good reason to be impatient.

The film was shot on location at an actual colliery in Cumberland and the scenes depicting the mine disaster which is the climax of the film are frighteningly real and hold up well today. The film stands comparison to How Green Was My Valley which was a film on the same subject, but done in the poetical style of John Ford and done over here.

The Stars Look Down will still move the viewers and the problems of industrial safety are just as real today as they were when The Stars Look Down came out.

A decade earlier in America, Warner Brothers began making their hard hitting social criticism films about the unjustness of society, about the dregs of society. With the benefit of a decade's experience and technology, this might just be the greatest legacy of those old talkies.

It takes you just two minutes to be totally absorbed into being part of this north east mining town at the end of the thirties. You can smell the coal dust. The struggles of lives like these seem a million miles from ours now but Reed's film doesn't just make you feel you're there, you understand exactly how the characters really thought - what made them tick - you know what they wanted from life.

Beside the utterly absorbing story, what is most striking about this is the stunning photography. Almost every frame is amongst the most perfect examples of cinematography you'll ever see. Like true expressionism, each scene expresses the feelings and moods of the characters you're looking at. In terms of visuals, it is on par with anything David Lean did.

The acting is all wonderfully realistic and genuine. Margaret Lockwood is particularly outstanding. She's usually good in her pictures but is typically just the posh totty. In this she really acts creating a deep, fascinating and perfectly developed girl you feel like you know or would like to know. She plays that selfish, nasty, cruel Jenny with such vitality you can't help but loathe her and love her in equal amounts.

This is one of those emotional dramas that stir you, make you cross about how unfair society was but also make you grateful that things are better. It's actually quite uplifting.

The story in this feature is pretty interesting, but even a description of the story by itself would probably not communicate how thoughtful and atmospheric the movie is. It also has some particularly compelling stretches that are hard to forget afterward. Director Carol Reed shows good insight into the characters and the story, the cast make the characters believable and worth caring about, and the technical aspects help you to feel almost part of the action.

Michael Redgrave stars as a young idealist, determined to get an education so that he can improve conditions in the mining town where he lives. Redgrave's performance quietly brings out a lot about his character, as he learns about reality while fighting for the truth. Emlyn Williams is also effective as Redgrave's boyhood friend, who takes an entirely different, amoral approach to the same situation. Margaret Lockwood, well-cast as the rather vain young woman who captivates both of them, adds an important dimension. Several of the supporting cast members also do a good job in limited screen time.

The highlight is the extended rescue sequence in the second half, and it is very effectively done. But one of the reasons that it works so well is that it was prepared by such a solid foundation, establishing the characters and issues carefully so that, when the crisis hits, everything takes on more meaning.

Many of the topics touched upon by the movie are still of significance in themselves, but even beyond that, it creates a good deal of worthwhile drama about society and human nature in general.

I recently purchased this outstanding movie on video. Michael Redgrave has always been one of the finest actors of his generation and his performance in this film only serves to strenghten my opinion. I was very surprised by the way a film of this era, concentrated so much on the social and economic deprivation of the mining community in Great Britan, surely one of the largest workforce of the time. The struggle for better conditions and the respect of their employers as workers and human beings is perhaps the crux of this story but the underlying sub-plots of human greed and subterfuge made sure my interest never waned. It is to me most memorable as a story of the ordinary man, struggling through adversity, always with dignity and self-respect. Despite the often bleak surroudings and the fact that it is also shot in B&W to maximize this atmosphere, it never depressed me and left me feeling good,long after the last of the credits had rolled.