Maggie

An American businessman hires a boat to take some cargo to a remote part of Scotland.

I enjoyed this Ealing comedy for its simple story, beautiful cinematography and culture clash moments.

The plot is fairly entertaining as we see a fish out of water situation of the American businessman in remote Scotland and also a David v Goliath story of the small-time puffer boat Captain take on the authorities. It is all quite character driven with the focus heavily on the arc of Calvin B Marshall and for contrast on Captain MacTaggart. Marshall is wealthy and powerful symbol of American individualism, whereas MacTaggart is struggling financially but part of a tight knit community that survives in the coastal areas of Western Scotland.

There are many great scenes that capture the era and locations. I loved the 100th birthday party plus all the coastal landscapes. The cinematography is beautiful and the editing keeps everything interesting for the duration.

All performances are solid such as Alex MacKenzie and Paul Douglas as the above mentioned characters. I particularly enjoyed Tommy Kearins who is excellent as Dougie, the 'wee boy', who seems to confidently portray a youngster with wisdom beyond his years.

The Maggie is worth watching as a follow up to Whiskey Galore as it contains a similar sentiment but has more focus on specific characters.

For me it is a 7.5/10 but I round upwards.

Despite its age this was an excellent old film. It can't fail to entertain virtually everyone.

It's about a dying way of life, with different pace and priorities, but a life they love. This old way of life clashes with a newer way of life with a different pace and priorities.

The often drunken and flawed captain and crew drift through life enjoying themselves, but usually on the wrong side of the law. Ironically often looked after by the youngest member of the crew; the wee boy.

As a result of desperation and deviousness they pick up a cargo from an American tycoon, which they hope will save their little ship for another day. The story centres around trying to deliver the cargo and their battles and clashes with the American.

As well as being an excellent film, the social history is excellent also.

The Maggie. An underrated, gentle little comedy, the sort of which Ealing are associated with. The storyline packs quite a punch on American capitalism as a tycoon gets to believe that, after cutting corners and underestimating the crew of the 'Maggie', he can buy out his mistake with dollars alone.

Great cast that play a Clydeside crew, that quietly and cannily let things gently take their course. The scenery is more Whisky Galore than the East-end that is the more usual home of Ealing and the nice black and white photography suits the subject well. Pacing is a far cry from the frenetic of The Lavender Hill Mob and lets it story breathe quietly.

It's one of my favourite Ealings. If you haven't seen it, give it a try, you might add it to yours, too!

THE 'MAGGIE' rehearses a theme highly familiar to most Ealing comedies, that of the powerful person being outwitted by ordinary citizens. The theme recurs time and again, notably in WHISKY GALORE! and PASSPORT TO PİMLICO (both 1949) and THE TITFIELD THUNDERBOLT (1953).

In Alexander Mackendrick's droll comedy, the threatening force is personified by Calvin B. Marshal (Paul Douglas), a thickset American with an expensive camel-hair overcoat and domineering manner. He terrorizes hapless bureaucrat Pusey (Hubert Gregg) who obviously tries his best to do his job properly but proves highly unworthy of the task. Pitted against these two are the crew of the eponymous "Maggie," an aging "puffer" carrying Cargo along the Scottish waterways, even though its engine is clapped out, its metalwork falling apart, and its maximum speed is about six miles per hour. The skipper, a canny character if there was one (Alex Mackenzie) spends much of his time in local hostelries along the way, but proves more than a match for Marshal. The true source of the film's morality is provided by Dougie (Tommy Kearins) who looks after Marshal where needed, but doesn't shy away from criticizing the American where appropriate.

Given the nature of the story, it's not surprising to find that the screenwriter is William Rose, an American also responsible for the huge hit GENEVIEVE (1953), another likable comedy that shows an old "puffer" - this time a vintage car - triumphing over adversity. THE MAGGIE is sensitively photographed by Gordon Dines, with a fine sense of the Highland landscape, and how it determines the way people lived at that time. Compared to Marshal's life, their sense of values might have seemed antiquated, but they possessed the kind of community and good fellowship that seems markedly absent from Marshal's world.

THE MAGGIE is certainly a sentimental piece of work, especially at the end, but is nonetheless well worth looking at as an evocation of a long-lost world.

I feel extremely fortunate to have finally caught up with this beguiling little film. Good enough to rank among Ealing's best works, it has undoubtedly improved with age, giving us a snapshot of a time before technology shrank and homogenized our world.

It's worth noting that this film is the work of screenwriter William Rose, who had created the delightful Genevieve a year earlier, and would go on, amazingly, to pen It's a Mad Mad Mad Mad World some ten years later, and win an Oscar for Guess Who's Coming to Dinner a few years after that.

It's unfortunate that movie fans track actors and directors so much more closely than writers. The Maggie, no less than his other works, proves that Rose deserves to be remembered one of the great geniuses of film comedy.