Sangue blu

Kind Hearts and Coronets is probably one of the nastiest movies ever made. And there's hardly an ounce of onscreen violence in it. I first saw this flick as a child, and although I liked it, I was probably too young to understand it fully. Well, now I do. It's brilliant. Dennis Price as the vengeful, amoral (yet, in his own way, strangely moral) Louis Mazzini turns in a fantastic, beautiful, even sympathetic performance. (Would you believe *sympathetic?*) He is complemented--though not overshadowed--by the inimitable Alec Guinness in eight roles as members of the D'Ascoyne family. And Joan Greenwood is every bit Price's conniving equal as Sibella. I should also mention that the script is mind-boggling. It's all nasty stuff covered up by Victorian gentility. Scathing attack on nobility, too. Also on folks who seem to miss the point about art (like Guinness' portrayal of the priest).

I'm running out of ways to express my enjoyment of the film, but I'd like to make a final point. I read a comment allegedly attributed to Lindsay Anderson that indicated the movie's visuals didn't live up to the screenplay. Just want to respectfully disagree. I believe the visuals were perfectly suited to the film, as they framed the action perfectly, called attention to the comic moments without creating any distractions (via camera or otherwise) and provided clean, clear visuals. In other words, a perfect appearance for a nearly perfect comedy. The strong editing also helped. So, while this is not a visually innovative film on the level of, say, "Citizen Kane" or "Battleship Potemkin," it doesn't need to be...nor should it be. The sum of its parts makes a thoroughly delectable whole.

How many stars are we allowed to give it? :-)

• Simon

Undoubtedly one of the most perfect, brilliant comedies ever, this movie is extremely fun and revels in its dark, clever humour. What can one say about a comedy centred around a dapper, charming, likable, impoverished young English gentleman who is at the same time an utterly remorseless, ever-calculating killer who has no qualms about killing an entire line of relatives who all stand in his path to inherit the family fortune? On top of that, he all the while takes great care in preserving his demeanor and status as a gentleman; all the relatives he must eliminate are brought to life by the genius of Alec Guinness; and there's an executioner who takes pains to show proper respect to his social "superior." The dialogue, indeed pretty much all of the humour, is a shining example of "British humour" at its best. It is subtle, clever, dark, and full of irony and satire. It is pure, brilliant entertainment that doesn't stop. Comedy really can't get much better than this.

Robert Hamer, the director of "Kind Hearts and Coronets", one of the better comedies to come out of the Ealing studios in the late forties, created a memorable film that still keeps enchanting, no matter how many times one has seen it. This is a film that like a vintage wine gets better with age.

Of course, the right elements were put together in this venture under Mr. Hamer's direction, which is probably the best tribute one could say about the film.

Louis Mazzini, the young man who should have inherited a noble title that is lost as her mother elopes with an Italian tenor and she is disinherited. Louis is determined to regain what's due to him, by whatever means possible. Things go well for him, but he commits a mistake in entering an illicit romance with the calculating Sibella, while at the same time falling in love with the radiant Edith D'Ascoyne, the young widow.

Dennis Price gives a smart account of Louis Mazzini. He is a delight to watch as he keeps scratching off dead relatives from behind the picture frame. Alec Guinness portrays eight D'Ascoynes with an unusual panache. Best of all is Lady Agatha who encounters 'turbulence' while flying in a balloon. Valerie Hobson makes an impression with her Edith and Joan Greenwood is at her best as Sibella.

This is a film to treasure.

"Kind Hearts and Coronets" is really an essay in acting from one of Britain's greatest, Sir Alec Guinness, and what better way to remember him than the film which gave him eight roles to play? True, one or two are barely given time to register before Dennis Price dispatches them (Lady Agatha would have been interesting as a fully rounded character), but those which are developed - Henry, the photography enthusiast in particular, are cleverly played and memorable. Price also does well in his role. The ladies - Joan Greenwood and Valerie Hobson - are excellent. The great strength of this film is in its black humour, and of course in its delicious twist ending. I can't bear to think of it remade with a 2000's gloss.

Kind Hearts and Corrents is in a sense an extrapolation of Jane Austin's satire of the English aristocracy. Where Austin gives the reader a sarcastic insight into their ways of life, Kind Hearts and Correnets kills the English aristocracy off, as if to symbolise their slow demise within modernity. But, as this film illustrates the aristocracy has methods of survival via its never ending line of descendants ready to take on hereditary titles. Ironically, the survival of the dukedom in this film is due to the actual banished heir to that title murdering his relatives who stand in his way. If you like, this is an illustration of how there will always be an aristocracy of sorts, in the form of rulers in all types of societies, as illustrated in George Orwell's Animal Farm. This is because as the famous psychologist Erich Fromm says, as a conservative society we have a 'fear of freedom' and depend on being subordinates of rulers, like children to their parents. In Kind Hearts and Correnets we see an example of this when the duke performs his paternalistic duty for his dependant proletariat.

The irony is that the lead actor, Dennis Price, in Kind Hearts and Corerenets is a descendant of minor aristocracy, himself deprived of his title due to the paternalistic line being directed away from him. In this case he plays the part of the denounced heir superbly. Meanwhile Valery Hobson shines out as a beautiful, elegant lady, which could be less to do with acting skills and more about playing herself.

As for Sir Alec Guiness, it goes without saying that he steals the film, with his range of acting talents, here some of them showcased in all the characters he plays.

In the case of the screenplay, it is wittily directed, well paced, entertaining, and never for a second boring. This permits a distraction for the viewer, and the overlooking of the minor flaw of how there were no accusations pointed towards the lead character which are to the viewer easily detectable given that he was present at most of the murders of his arosticratic relatives.

Overall, an ageless classic.