The Halfway House

Never having been a fan of the concept of the dead returning to advise the living, I was none-the-less pleased with this charming film. The tragedies that occur during war-time can often be treated as 'due course' by most of us, but we are not usually those who have suffered a loss. Like many stories involving benevolent ghosts or angels, the supernatural beings are metaphors for the hand of God in the lives of the living, seeking to influence them along a better path than that which they currently pursue.

'Halfway House' is a kind-hearted, quirky little film, with talented character performances. Sally Ann Howes, the gifted musical actress, plays an early role as the daughter of an estranged couple heading for divorce. Her performance was amusing and poignant, as she tries to think of ways to get her parents back together. Françoise Rosay's character desperately attempts spiritualism, trying to contact her only son who has died in the war. They, and the other guests at a ghostly Welsh inn, seem to take a somewhat 'oh, well, so that's it' attitude toward their dearly-departed innkeepers, which makes the film that much more appealing. 'Halfway House' is exactly what it was intended to be, a comfort and a lesson.

I've seen this film several times since the early '60s and I liked the story and plot which was really different to most other Ealing films I have seen. Loosely based on an unsuccessful play, it gained its idea from a somewhat odd incident when a single bomb fell on an inn in what was then a small Welsh village. The inn was destroyed but nothing else was by way of property, the 'bomb' was not dropped as a result of known enemy aircraft and absolutely NO OTHER bombs were dropped in the area, ever and it was never established definitively from where the bomb came. It's set in a beautiful area and I don't pretend to know how things were in the 1940s but as far as the unspoilt countryside, single lane roads and lanes, low human count, it could have been the '50s. The Inn concerned cannot initially be seen by one regular visitor played by Guy Middleton accompanied by a friend, then when he DOES see it in the distance lying low down in a vale, they share a cycle and when they arrive are greeted welcomly. Then more 'guests' arrive, a couple at the point of ending their marriage, another older couple who have lost their son during the War she being into the Spirit World. Other people make up the numbers and the whole film has an air of strangeness and mystery about it. The publican is played by Mervyn Johns (Went the Day Well) and his real life daughter Glynis is in the part of his daughter in the film. Valerie White (Hue and Cry) also stars. I tried to "locate" the Inn or site of it on Google Maps from limited info but unfortunately was unable to.

I guess most reviewers are too young to remember the mind set of people at home during war. This film IMO reflects a very present concern of many people in coming to terms with grief. Spiritualism had always been important from the mid 19th century with a falling off towards the end of the century. But with a major resurgence in 1914 and WW1. The young men of whole communities in England died because of recruiting ploys like the "Pals Brigades". With this in mind, the central theme of this 1944 film (fifth year of WW2 for England) will have struck chords with many in the audience. Only 20 years separated the two WWs - not long enough to forget.

Spiritualism was never in "conflict" with science. Many 19th C. scientists studied spiritualism with the same avidity as electricity or radio waves. A couple of years ago, I went along with a friend to a spiritualist meeting in an English provincial town. I was surprised by some of what I saw and heard but most striking was the attempt by the spiritualist to give comfort to the people there. A comfort that was gratefully received.

I am not advocating spiritualism just as I would not advocate the use of placebos to the exclusion of doctors. But I have lived long enough in many countries and cultures to have experienced some pretty strange things. Keeping open a little window of uncertainty and doubt in a PC world where many know all the answers.

This tongue-in-cheek film is interesting from a number of aspects. The spiv (still reviled in my youth in England), the war-split couple, the lost child, the spiritualist seeking solace... They may seem quaint today but will have struck chords with many in the audience which is what cinema is all about.

Even the RAF father of one of the reviewers may have been unhappy with the film because it did not delve deeply enough into what was an everyday reality for him and his colleagues. Death for him was just around the corner, very real, and no theatrical imitation could possibly approach that reality.

This film taught me a few things and reinforced other things about what it was like for my parents generation.

Very imaginative plot, good acting and photography, typical wartime mature subject life and death British quality.

Surprisingly good camera work and color balance for a drama filmed in 1944. Even the out-of-doors scenes are crisp and the light is well balanced.

A group of strangers check-into an inn, each have their own emotional problems. The plot is interesting enough to hold the audiences attention, although a little slow moving in parts. The acting was very solid.

This is a very time-period relevant film. It really accurately reflects the attitudes, values and behaviors of middle class wartime Britain. A little slice of the Welsh countryside during war years.