Détective du bon Dieu

I'm old enough to have seen this film on its release in the cinemas, and, whilst it's not easy to think of a film these days being a success unless millions have been spent on it, this film hung on two superlative performances from Alec Guinness and Peter Finch and the screenplay was worth two of anything you'd hear today. So why, I ask, has it not been released on DVD for a new generation to enjoy? Is it thought too dated? Not exciting enough? Too cerebral? Not a bit of it. It's a thoroughly enjoyable film with moments of high tension and a supporting cast rich in character (including Bernard Lee who was the first M in the Bond films)

Father Brown is an unusual Priest. He tries to get people back on the right track that have sinned and gone a stray.

He does this by undoing the crimes they have committed like stealing. He will return the stolen items.

He has a Cross that is likely to be stolen by a crook no one can identify. Father Brown is out to find that crook and bring him back to Christ.

Some of the story takes place in church to me it is very inspirational. He explains what most people do not know is that he hears the confessions of a lot of different kinds of people and he wants them to repent and come back to God.

It is heart warming to hear Scripture and also the stories of the bad people he meets and then tells them they don't have to be the way they are.

This is one movie where they are not mocking Priest, Catholics or those who believe in God. Funny and inspirational.

You can see it on Youtube. Father Brown The Detective 1954 (Alec Guiness) http://www.youtube.com/watch?v=4gqwXeHI85A

Gilbert Keith Chesterton has never been ignored or forgotten since his death in 1936. Yet his contemporary, Rudyard Kipling, was as controversial as he was and is better remembered and read to this day. I am not sure if the reason is that Chesterton's twin attractions, his love of paradox (almost to a questionable mania) and his vigorous championing of Catholicism are the reasons for this. He is, in the latter aspect, a strong predecessor of Evelyn Waugh and Graham Greene, but both of those writers seem to have more of a readership today. But then they didn't adopt paradox.

In his novel "Manalive" there is a moment when the appeal of his paradox reaches a point that is both understandable and questionable. The hero explains that the phrase "All that glitters is not gold" is false - all that glitters is gold. He starts pontificating on how many rarer elements (platinum?) exist that don't glitter as much, so that it is the attraction of the glitter of gold that makes it matter. One reads this discussion hoping that Chesterton is pulling our leg (a hope I still have, but it is very faint). The point of the phrase is that there are more valuable things in the universe than wealth producing items like gold - things like kindness, generosity, love. If Mr. C. was fooling us, I congratulate him on the still hit-on-the-head blow of the paradox. But if he meant it I really pity him.

I leave it to his fans to explain it to me (if they wish). "The Detective" is one of the few movies based on Chesterton's huge output. It is based on the first story of his tales of the Roman Catholic priest and detective, Father Brown: "The Blue Cross". The story is a good one (the first of the first series of "Father Brown" tales), and introduces us to Flambeau, the master thief that Brown eventually saves. But for it to be done properly (not the way the movie quite does it) several of the stories have to be put together. The first three stories of the series deal with Brown, Flambeau, and the head of the Paris police. The last commits a murder in the second story, and commits suicide before Brown exposes him. So much for a guardian of the law. Flambeau is stopped by Brown reasoning with him that he is not a bad man but a man who is on the verge of becoming one if he lets an innocent man take the blame for a theft he committed. Flambeau does repent, and subsequently becomes a detective (and an assistant to Brown).

This is a film which could have been reduced in length. Parts of the movie are quite amusing (the scene of Ernst Theisinger and Guiness breaking each other's eyeglasses is cute). The acting is also good (especially Guiness and Peter Finch as Flambeau). But the moments that move the viewer (and approach Chesterton's Catholicism) are when Guiness gives parables to explain behavior and human weakness. Witness his tale of the bad woman who fails to get pulled out of hell.

I wish the film was not so dull in so many spots, but it is definitely worth a look.

This is another of the often ignored 'small' Guinness films from the early and mid-50's that rarely get the attention they deserve. While it had a brief revival last fall at Britain's National Film Theatre, it doesn't seem to show up that often in Guinness retrospectives.

A number of elements in this gently comic film that are worthy of notice: Sir AlecÕs performance is deft, subtle and delightfully wry whether he is playing the sleuth or spouting philosophy to the villain Flambeau.

An added treat is a cast that includes Peter Finch, who won an Oscar for Network, Joan Greenwood, who was Lady Balleston in Tom Jones and Bernard Lee who portrayed M in the James Bond series. Guinness, Greenwood and Cecil Parker (The Bishop) also appeared together in the Ealing Studio comedy, The Man in the White Suit.

Another interesting aspect is that a large part of the film was shot on location in Paris and rural France, apparently a rarity for the British films of that era.

Finally a bit of trivia: After his portrayal of Father Brown, Guinness converted to Catholicism

This enjoyable feature does a good job of filming a creative, interesting story using G.K. Chesterton's "Father Brown" character. Alec Guinness is a very good realization of Father Brown, and Peter Finch provides him with a worthy foil. The story uses a good variety of interesting settings, with numerous interesting turns in the plot, and some good moments from the supporting cast.

What makes it more intriguing than the average crime/mystery movie is that from the start Father Brown is more interested in reforming the criminal than in punishing him. It leads to a story that has some of the same elements as a conventional crime film, but it also adds a creative dimension that makes it so much more interesting than the dreary, excessive spectacles of the present time that drown out any substance with undue amounts of violence and crudity.

The story could, of course, have easily become implausible and/or annoyingly moralistic, but thanks to Guinness's usual fine performance, and good direction from Robert Hamer, that is not at all the case. While there's nothing flashy here, it's an interesting and enjoyable little feature, and a nice change of pace.