A Canterbury Tale

Although I've heard that Michael Powell chose, over a skirt-slashing Colpeper, to instead have him be The Glueman, his choice is, I think, serendipitous. The Glueman is not just the (superficially, as most post-modern critics mistake about him and about so many other characters in earlier films - about which more later) repressed sexual pervert Glueman, but he's also the Clueman. Yes, he's vaguely sinister, but he provides the glue that diverts the film's younger, war-preoccupied characters from their immediate concerns, and he suggests the clues that connect them to the heritage (some of us Yanks know the words of 'Land Of Hope And Glory' because England/Britain is undeniably, in many respects, our Mother Country) that has shaped them and made them who they are - and to the Civilization for which they're fighting.

Too many of today's critics obsess about the "Lesbian" farm woman whose character, in the 1940's, would have been ordinary and been regarded as being ordinary: a woman raised under the sterner discipline and mores of her day, with no-nonsense, no-b.s. values of virtue, obligation and hard work - and of getting to the point. It's postmodernists' affectation to automatically suspect doughty, matter-of-fact women characters - any eccentric women characters whom their postmodernist Miss Jean Brodie nonsense has bent them to suspect of fitting their screwy postmodernist (i.e., most often Marxisant, but often also Romantic) worldview - in earlier films of being "Lesbians." This woman is, consummately, a farmer who has to consider pragmatically what all farmers have always had to consider: how to smartly, efficiently work their land to its top yield against time and weather, pests and parasites, poachers and market conditions; there's nothing "Lesbian" about any of her singleminded agrarian pragmatism, or about her unremarkable - for her day - country ladies' sartorial choice, or even about her puffing a cigarette.

'A Canterbury Tale' isn't among the best of Powell & Pressburger's efforts; but it doesn't fall far short of their best. In a spot or two the plot plods, but then plodding was the pace of the Kentish countryside, so I think that it's only to our early third millennium sensibilities that it seems to plod. Seldom has black & white cinematography managed, as it manages here, to communicate through chiaroscuro the pilgrims' unease, and through the blessed splendor of sunlit, cloud-garlanded vistas of the Weald of Kent their respite.

As the Glueman strives to communicate the pace, sensibilities, and sensations of Chaucer's pilgrim's time, so too must we latter-day viewers accommodate our viewing of this film to the pace, sensibilities, and sensations of its period and setting: once we've done that - which demands of us no extraordinary effort - the legendary, enduring Powell & Pressburger magic works its spell.

From the outset I found Sergeant Sweet's unaffected acting well-suited to the storytelling. The Yanks whom Wartime Britons recall were probably more like Mike Roczinsky, yet among those "overpaid, overfed, oversexed, and over here" American "invaders," among all those "brown jobs," were young men quite like Sweet's Bob Johnson. Dennis Price's manner is a bit too aristocratic for his portrayal of a sergeant, but on the whole Price's thespian gifts help him to carry off his role very well. Sheila Sim gives a perfectly iconic portrayal of a young woman of her time: bereaved but not crushed; proud yet considerate; tender yet not mawkish; vulnerable yet capable. Eric Portman's Glueman is appropriately mysterious and mildly menacing and yet, in the ending we discover that he's all along been a benign agent of illumination, the neutral but never indifferent catalyst, the benevolent spur to the young people's sleuthing to know their present through their coming to touch their collective past; the Glueman is, if you think about his role in the narrative, rather God-like - or, if your prefer, rather Nature-like.

What's lovely about the dénouement here is that it enchants without indulging in sodden kitschiness, and indeed that it enchants in spite of of its scant kitschy elements. In the end the Glueman vanishes from the pilgrim's and our ken because he's accomplished his task of cluing and gluing the pilgrims to their past, to the mystical dimension of Being in their Own Time as that Being can only have come about by dint of their having touched their Past in their Present, which is the predicate of their harboring good hope for their Future. This message, to people whom wartime exigencies shifted brusquely about en masse as people had hitherto never shifted about, may have rung in 'A Canterbury Tale's' contemporary audiences a chord of sentimental longing and welcome reassurance.

This is a thoroughly English film best appreciated when one knows that Powell grew up in rural Kent and that he loved his home county's loveliness as only a native can and does love eternally his childhood home - and the verities it imparts early to him. In our present age of rapidly successive, plug-in and plug-out residential and professional transience - the first age of nigh-universal human rootlessness - 'A Canterbury Tale's' blessing is its acquainting us with our 1940's forebears' more permanent, more grounded sense of themselves and their place in the world and in time, a sense which they felt the war had put under threat and had hurled them and their world, willy-nilly, into unsettling uncertainty. It seems unlikely that we - our species - shall ever again know the quiet certainties, tranquility, and satisfaction of lifelong residence in, or near, our birthplaces. Until our time urgency meant for people something quite different from what urgency means for us. If people before our hyper-active, attention-deficited, more artificial time were not more "authentic," then they were certainly far less remote than we've become from Nature's cycles and temper.

'A Canterbury Tale's' charm is quiet, subtle, and in the end it's sensual, mystical, illuminating, and eternally dear. Pity that few have nowadays the time or the temper for such charm.

Some of the Archers' films have moved and delighted me -- BLACK NARCISSUS, THE RED SHOES. Others have interested me but left me rather cold -- PEEPING TOM, TALES OF HOFFMANN. This one falls right in the middle. The wartime milieu, the surprisingly *dark* nighttime photography, the central characters, the supporting cast of Kentish country folk -- all these engaged me for about the first hour of the movie. But in the second hour, as the "Glue Man" theme became increasingly worn out and the prospect of "miracles" in Canterbury loomed larger, I felt more and more detached from the proceedings. Especially unwelcome was the churchy quality of the denouement. Still, I have no argument with the commenters who have praised the film so highly. So let me turn the denouement of my own commentary into a list of the positive impressions that stayed with me after "The End" appeared so unexpectedly on the screen.

First -- I loved the camaraderie that developed immediately among all the ordinary folks thrown together and forced to work as teammates for the common cause. (If war is good for anything, it must be that.) Second -- I liked the tall skinny American soldier and the difficulties and simple pleasures he found among the Brits -- I've been there, done that, and P&P captured the feeling very nicely. (Note: Bob Johnson's accent is quite authentic for a rural Oregonian, so stop complaining, you funny Commonwealth lot!). Third -- I enjoyed every minute that Sheila Sim was on camera. Finally -- that cut in the prologue, from the hawk to the fighter plane, was excellent indeed. (And yes, I'd bet my piggy bank that Stanley Kubrick got his idea for the bone-to-space station cut in 2001 from this very film.)

But wait, I realize that I do have to register one last complaint. I love black & white movies, so much that whenever I hear twentysomething kids whine that they can only watch movies in color, I am nauseated. And yet -- I wager that any filmmakers who purport to represent the beauty of the Kentish countryside on a summer day will truly achieve their goal only if they film in color. England's green and pleasant land just can't be painted in shades of gray.

This superb allegory by Michael Powell and Emeric Pressburger follows the pilgrimages of three disparate people during WW II as they make their way to Canterbury along the 600-year-old Pilgrims Path. Each is seeking a miracle or consolation from their journey.

Alison (Sheila Sim) is a London shop girl who ventures to the English countryside to work on a farm as a "land girl" and to revisit the spot where she vacationed with her now dead soldier boyfriend. Bob (John Sweet) is a naive American GI who's girlfriend back in Oregon has stopped writing to him. He told his mother he'd visit Canterbury. Peter (Dennis Price) is a disillusioned organist whose career has been limited to playing in movie theaters and who is soon to ship out overseas.

The three disembark a train together and venture toward the great cathedral city when Alison is attacked in the dark by a strange offender known locally as the "glue man." He's poured nasty glue all over her head. As the three find lodgings and talk to locals they learn that the glue man has struck many other times.

Alison settles into her farm job while Bob discovers the countryside still (in 1944) very much tied to 19th-century ways. Peter tries to find out more about the glue man. They all meet a local eccentric (Eric Portman) who may be the glue man. He lectures locally on the rewards of country life and works as a magistrate in Canterbury. They all meet at the cathedral as they meet their fates.

Absolutely gorgeous B&W photography lovingly displays the beautiful countryside with ample shots of wide sky and billowing fields, rustic farms and buildings, and always Canterbury in the background.

The simple story lines are set against the complex allegory of a journey of discovery. Each of the pilgrims finds something in Canterbury, but what happens to them afterwards is left to our imagination. Both Alison and Bob find answers to their private sorrows, and Peter attains a cherished dream. All three are changed in deep and moving ways.

John Sweet was an amateur actor stationed with the US Army in England when he was discovered for this role. His plainspoken American is both naive and deeply wise. His growing love of the countryside and the old ways is infectious. Sheila Sim plays a sturdy and practical girl who deals with her loss while loving her new life in the country. Dennis Price plays the most complicated character, since his loss is more a loss of ambition and opportunity than a loss of human love. His discovery at the cathedral is very moving. Portman is a lonely and aging man who may be attracted to Alison as a kindred spirit, but all paths do not lead to the same destination.

Many notable actors in small parts include Edward Rigby, Charles Hawtrey, Hay Petrie, Freda Jackson, Esma Cannon, Graham Moffatt, Eliot Makeham, Esmond Knight, and Judith Furse.

Powell and Pressburger scored a major success with this moving and seemingly simple story. But the characters will stay with you long after watching this glorious masterpiece.

... from writer-producer-directors Michael Powell and Emeric Pressburger. A trio of (then) modern day pilgrims meet at a train station in Kent on their way to Canterbury: Alison (Sheila Sim), a young war widow; Peter (Dennis Price) a British army sergeant; and Bob (John Sweet), an American army sergeant on a 3-day furlough. The trio bond when Alison is attacked by the notorious "Glue Man", a mysterious figure who runs about at night dumping glue on unsuspecting ladies' heads. The townsfolk seem content to let the mystery lie, but the trio of newcomers are determined to find the culprit and bring him or her to justice. Meanwhile, they also take time to learn more about their surroundings in the English countryside, thanks to local historian Colpeper (Eric Portman).

This is an odd movie. The goofy-sounding Glue Man mystery is an unusual pretext to keep the characters together, but it works. The true aim of the film seems to be reconnecting a war-battered audience with its history and bucolic country landscapes. There's a bit of the mystical, with discussions of centuries past and the lingering ghosts of ancestors. The film also serves as a bit of American-British co-operation propaganda, in the form of Sweet's amiable Oregonian Bob. Sweet was an actual U. S. G. I. loaned to the film, an unprofessional actor, and it shows, but in a good way. His voice and personality may strike some the wrong way, but I found him charming. Both Sheila Sim and Dennis Price were also unknowns, and they both went on to fame, but Sweet became a school teacher. Recommended.

My first amazed viewing of this spiritually uplifting film was on a wet Sunday afternoon about fifteen years ago. I was thoroughly depressed for various reasons, but by the end of this movie, the entire world had subtly transformed itself. The delivery of the "message" of this film may seem, to modern audiences, naively done, but its power to move surely remains as robustly valid today as it must have been to audiences in war-torn Britain. (I have not seen the American version.)This is a feel-good film of the very first order.

The photography is geared towards presenting the glory of the English countryside, and beautifully conveys an England which was fast disappearing by the time war broke out. Watch especially for the shots of Alison on the downs just after looking towards Canterbury. Gorgeous!

You will either love or hate this film, but you MUST see it if you have not already done so. I've just bought it on DVD, and am ditching various copies taped from TV over the years.

PS: If anyone with any influence at Carlton reads this, please urgently consider transcribing "I Know Where I'm Going" - another fine Powell/Pressburger movie - onto DVD.