Noblesse oblige

Kind Hearts and Coronets is probably one of the nastiest movies ever made. And there's hardly an ounce of onscreen violence in it. I first saw this flick as a child, and although I liked it, I was probably too young to understand it fully. Well, now I do. It's brilliant. Dennis Price as the vengeful, amoral (yet, in his own way, strangely moral) Louis Mazzini turns in a fantastic, beautiful, even sympathetic performance. (Would you believe *sympathetic?*) He is complemented--though not overshadowed--by the inimitable Alec Guinness in eight roles as members of the D'Ascoyne family. And Joan Greenwood is every bit Price's conniving equal as Sibella. I should also mention that the script is mind-boggling. It's all nasty stuff covered up by Victorian gentility. Scathing attack on nobility, too. Also on folks who seem to miss the point about art (like Guinness' portrayal of the priest).

I'm running out of ways to express my enjoyment of the film, but I'd like to make a final point. I read a comment allegedly attributed to Lindsay Anderson that indicated the movie's visuals didn't live up to the screenplay. Just want to respectfully disagree. I believe the visuals were perfectly suited to the film, as they framed the action perfectly, called attention to the comic moments without creating any distractions (via camera or otherwise) and provided clean, clear visuals. In other words, a perfect appearance for a nearly perfect comedy. The strong editing also helped. So, while this is not a visually innovative film on the level of, say, "Citizen Kane" or "Battleship Potemkin," it doesn't need to be...nor should it be. The sum of its parts makes a thoroughly delectable whole.

How many stars are we allowed to give it? :-)

• Simon

I've seen this gem half a dozen times and look forward to seeing it a few times more. It's a masterpiece of unsentimental, yet genteel, humor, and features performances by some extraordinary actors. Sir Alec Guiness's eight different turns have been much commented on and deserve every superlative they've received. Dennis Price is too little recognized--in the US, at least--for his gifts, as his work here proves. Valerie Hobson is wonderful, and Joyce Greenwood is...I would happily buy a recording of her reading the OED, just to hear that astonishing voice. And, in a small but marvelous role, Miles Malleson is superb. If you have not seen this film, it's readily available. Give yourself a treat. I know that Hollywood seems to have forgotten that there's nothing to be gained by trying to remake a perfect film. If they ever dare to do it with this one--I don't give a damn who is in it, or who directs or writes--don't bother. See the original. None genuine without the Ealing Label.

Undoubtedly one of the most perfect, brilliant comedies ever, this movie is extremely fun and revels in its dark, clever humour. What can one say about a comedy centred around a dapper, charming, likable, impoverished young English gentleman who is at the same time an utterly remorseless, ever-calculating killer who has no qualms about killing an entire line of relatives who all stand in his path to inherit the family fortune? On top of that, he all the while takes great care in preserving his demeanor and status as a gentleman; all the relatives he must eliminate are brought to life by the genius of Alec Guinness; and there's an executioner who takes pains to show proper respect to his social "superior." The dialogue, indeed pretty much all of the humour, is a shining example of "British humour" at its best. It is subtle, clever, dark, and full of irony and satire. It is pure, brilliant entertainment that doesn't stop. Comedy really can't get much better than this.

This fine film is an example of Ealing at its very best, with a superlative script and acting of a very high standard. In watching, one is once more all too sadly aware of the difference in quality between British films of this era and today; there can't have been in recent times a screenplay as cleverly comic, economical and incisive as this is. The level of wit is high, and perfectly suitable for a black comedy such as this. Certain lines and scenes linger agreeably in the memory; the part where Price, in his droll narration, slips into verse, is wonderful, as is the "fight" he has with a lower-class rival; "I'm not going to drawn into a scuffle with you!"

The element of class satire is strong, and while one is shown the lethargy and complacency of the upper classes through the amusing parade of Alec Guinness' characters, Price's corrupt plans are never condemned as such. His character, vigorous and witty, and the clever tool of narration, which in its tone draws in the viewer almost as a confidant. Similarly, but to an even more effective degree than in "Whisky Galore!" (1948) and "The League of Gentlemen" (1959), the viewer is made sympathetic to wrong-doings. The stunningly executed plot and dialogue are finely put across indeed by all of the actors. In the main role, Price refines and defines the cad Mancini perfectly; it really is a great performance, making the character more than memorable. Alec Guinness is great in his 8 roles, making a distinctive actorly mark in all of them. It says a lot that in a career as formidable as Guinness', in TV, film and theatre, his contribution to this film particularly stands out. The two ladies are impeccably played by Valerie Hobson and Joan Greenwood, who contrast quite perfectly; Hobson as rich and strait-laced if certainly beautiful, and Greenwood as the distinctively seductive childhood friend. Price's "juggling" of his two women is wonderfully arch and amusing. The film's ending should be noted as quite ingenious and wonderfully in keeping with the film's overall wit.

In the context even of Ealing, a studio adept at clever comedies, this is an extra-special film. Along with the films of this era of Powell and Pressburger and Carol Reed, this film makes one nostalgic for the days when British film was both distinctively British and universal in its qualities. Wonderfully funny and compelling, this film is one of my few favourites of all and overwhelmingly recommended.

Rating:- *****/*****

Kind Hearts and Corrents is in a sense an extrapolation of Jane Austin's satire of the English aristocracy. Where Austin gives the reader a sarcastic insight into their ways of life, Kind Hearts and Correnets kills the English aristocracy off, as if to symbolise their slow demise within modernity. But, as this film illustrates the aristocracy has methods of survival via its never ending line of descendants ready to take on hereditary titles. Ironically, the survival of the dukedom in this film is due to the actual banished heir to that title murdering his relatives who stand in his way. If you like, this is an illustration of how there will always be an aristocracy of sorts, in the form of rulers in all types of societies, as illustrated in George Orwell's Animal Farm. This is because as the famous psychologist Erich Fromm says, as a conservative society we have a 'fear of freedom' and depend on being subordinates of rulers, like children to their parents. In Kind Hearts and Correnets we see an example of this when the duke performs his paternalistic duty for his dependant proletariat.

The irony is that the lead actor, Dennis Price, in Kind Hearts and Corerenets is a descendant of minor aristocracy, himself deprived of his title due to the paternalistic line being directed away from him. In this case he plays the part of the denounced heir superbly. Meanwhile Valery Hobson shines out as a beautiful, elegant lady, which could be less to do with acting skills and more about playing herself.

As for Sir Alec Guiness, it goes without saying that he steals the film, with his range of acting talents, here some of them showcased in all the characters he plays.

In the case of the screenplay, it is wittily directed, well paced, entertaining, and never for a second boring. This permits a distraction for the viewer, and the overlooking of the minor flaw of how there were no accusations pointed towards the lead character which are to the viewer easily detectable given that he was present at most of the murders of his arosticratic relatives.

Overall, an ageless classic.