The Franchise Affair

I was drawn to this by its top-rank cast and I was glad that I stayed with it. It sets out its stall in the first 15/20 minutes and it it is one of those 'who do you beleive' type of thrillers. It dips somewhat in the middle (the Kenneth More character is entirely superfluous) but once it reaches the court scenes the satisfactory tying-up of its diverse plot lines is excellent and example of how these things should be done.

Small town solicitor Michael Denison is called in when two of his clients, Dulcie Gray and her aunt Marjorie fielding, are accused by Ann Stephens of kidnapping her and holding her at their estate to be a maid of all work. She describes the grounds and the room she was kept in, and an examination by the police show she knows the place. The village turns against the ladies, even as Denison develops feelings for Miss Gray.

Despite the derivation from a novel by Josephine Tey, I did not find this a particularly compelling movie. Things go from bad to worse, yet it only takes ten minutes in court to settle out what actually happened. Unprefigured witnesses pop up, with simple explanations of why they hadn't been heard from before. Despite a cast which includes Athene Seyler, Hy Hazell, and Patrick Troughton, there's nothing here but adequate performances in a poorly composed mystery.

I would not be put off from watching this very enjoyable movie by some of the opinions posted here. THE FRANCHISE AFFAIR is a movie you should seek out because it is, simply, very well made.

The 1951 film was based on the Josephine Tey novel - recently voted by the Crime Writer's Association as one of the Top 100 Crime Novels of All Time - and her novel was in turn based on a true 18th century case, that of Elizabeth Canning. Canning was a woman who accused two other women of kidnapping her and forcing her to become a prostitute. As the evidence against them grows a lawyer very reluctantly agrees to take on their case.

The film was made in moody black and white, nicely photographed by Gunther Krampf, a cameraman who began his career shooting beautiful silent films in Germany before emigrating to Britain in the late 1930s. His work has graced many a film. The story was updated by author Tey to the present time and the movie presents pleasant views of English village life in the 1940s. The script is extremely well-written. True, it contains a good deal of dialog, literate dialog I might add, but I believe this enhances the story-telling in the picture rather than takes away from it.

The acting is, as always with films made in the golden years of British film making, top-notch. I was more than a little amused by the criticism of one writer on this site who disparaged Mr Denison's acting and of another who called the acting "stilted". I suppose if one is accustomed to the hilarious, idiotically over-the-top acting style of today it is hard to adjust to genuinely fine acting. Again, do not be put off by comments like this: the acting is first-rate all down the line. Look for future British film stars in small roles here and there, and relish the delightfully dotty performance of the great Athene Seyler as the lawyer's mother. Such witty and well-judged performances like those are always worth a look.

THE FRANCHISE AFFAIR is very highly recommended.

To my chagrin, I know nothing about Director Lawrence Huntington. After watching THE FRANCHISE AFFAIR, the keener my regret about my ignorance.

THE FRANCHISE AFFAIR, a fine novel by Josephine Tey, is competently, classily and unpretentiously transposed to the silver screen by Huntington and Robert Hall, relying to a considerable extent on a superior performance from the male lead, Michael Denison - about whom, equally regrettably, I know just as little.

That said, Denison and female lead Dulcie Gray were married in real life, and certainly you feel a stable and solid connection between them (their marriage lasted over 60 years).

Very good support performances from the elderly and highly dignified Marjorie Fielding, a very young Kenneth More as a mechanic, the beautiful Hy Hazell as the key witness. The only performance I found wanting was that of Ann Stephens as Betty, the mendacious accuser, but perhaps the fault also lies with her part which, in my view, should have made her motivations more clear.

Excellent cinematography by Günther Krampf and editing by Clifford Boote.

Definitely worth watching - more than once, too! 8/10.

The film sticks closely to the book, which is a plus. It was made soon after the war, and some of the events recall what people had been through - being demonised and having mobs graffiti your premises and throw rocks through your window, and worse.

The acting is fine, especially from old Mrs Sharp. The makers avoided the temptation to have the other characters comment on her saltiness - she just comes out with her rather acid quips. She is funny, and so is Michael Deniston as Robert Blair, the solicitor.

I agree with the commenter who regretted the static nature of the filming - yes, it is stagey. Characters don't move much, and there are few close-ups or reaction shots.

The working-class characters are more prominent in the book, but they are well-played by such as Kenneth More and Patrick Troughton.

40s films gained by the glamour and style of women's clothes and hairdos. What went so wrong in the 50s!?!? Betty Kane is supposed to look frumpy in her school clothes, but poor Dulcie Gray is saddled with middle-aged clothes and a hair-don't.