All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The Life and Death of Colonel Blimp
Considered by many to be the finest British film ever made, The Life and Death of Colonel Blimp, by Michael Powell and Emeric Pressburger, is a stirring masterpiece like no other. Roger Livesey dynamically embodies outmoded English militarism as the indelible General Clive Candy, who barely survives four decades of tumultuous British history, 1902 to 1942, only to see the world change irrevocably before his eyes. Anton Walbrook and Deborah Kerr provide unforgettable support, he as a German enemy turned lifelong friend of Candy’s and she as young women of three consecutive generations—a socially committed governess, a sweet-souled war nurse, and a modern-thinking army driver—who inspire him. Colonel Blimp is both moving and slyly satirical, an incomparable film about war, love, aging, and obsolescence, shot in gorgeous Technicolor.
Film #10 of Project 40
”War starts at midnight!”
Few films can catch the spirit of time as good as this 1943 visually riveting and thematically intricate piece of cinema. Michael Powell and Emeric Pressburger portray the passing of time and the changes it brings to the moral values of society and individuals so finely and with such skill that the whole film looks like a reflection of life at its simplest form, with lost loves, regrets, friendships, adventures and misfortunes. The film looks back at Clive Candy’s life and shows his journey through time, how he has lived his life and most importantly how he has failed to catch up with the passing of time. The Life and Death…
Since I joined Letterboxd, I've only had reason to hit the 5 star button for a viewing of a film during my lifetime here on six occasions, and three of those were for films I'd seen before. Out of all them, I probably hit it for The Life And Death Of Colonel Blimp twice as quick as for any of the rest of them. What a wonderful, wonderful film.
I did a little bit of reading up about it beforehand as I really did not know anything about it all and I have to say that I was a little bit daunted by it before I started. Not because of its…
A film made right in the middle of the Second World War with a friendly, sympathetic German and the symbolic positioning of an out of touch Colonel representing the beginning of the end of an Empire. No wonder the forces that be were none too pleased with Powell and Pressburger.
On face value it may be easier to dismiss this ridiculous looking figure at the start, a blustering old man with his round cartoonish features, whose values seen out of touch. “War starts at midnight!” he bellows at the impetuous young sergeant. Then we are forced to take a step back, asked to see this man through the years, look beyond the crimson face, ridiculous moustache and stiff upper lip.…
Director: Michael Powell (and Emeric Pressburger) (First Film)
The Life and Death of Colonel Blimp may be the most British film I have seen and as a film about being British, is probably the best of its kind. A combative and often intensely funny duo; together, collectively known as The Archers - Powell and Pressburger (although it has often been said that Powell did most of the directing) create a seamless, timeless and quite frankly masterful film that is hearty and poignant but also incredibly funny and always entertaining.
The seamlessness comes from the structure of the film. We're introduced to our main character Major-General Clive Candy as an almost seemingly pathetic figure. An older gentleman who somewhat…
Not yet the eye-piercing target of subsequent films, the Archers’ freshly-minted emblem is here the enchanted stamp on a vast, elaborate tapestry. Britannia during the Blitz is a rubicund, slumbering walrus (Roger Livesey), outraged by the new generation’s ungallant aggressiveness; his bushy mustache hides a scar, he was also a reckless blade once, four decades and three wars flash before his eyes. In the Edwardian Belle Époque the fussy old general is a Boer War officer, young and impudent enough to turn a diplomatic affair into an affront to the German Army. The symphonic first movement climaxes with the camera craning away from a duel just as swords are crossed, then finding the protagonist and his Prussian opponent (Anton Walbrook)…
'Every time I revisit THE LIFE AND DEATH OF COLONEL BLIMP, it seems to have become more resonant, more moving, more profound. You could say that it's the epic of an ordinary life. And what you retain from this epic is an overpowering sense of warmth and love and friendship, of shared humor and tenderness, and a lasting impression of the most eloquent sadness.’
- Martin Scorsese
I can't help but agree with Scorsese's quote up above (even after only one viewing), and I hope I continue to have that very same experience every time I sit down with it, which will be regularly. Sporting two exceptional lead performances, an epic scope with that famous Archers commitment to the vibrancy…
Resoundingly tender and beautiful, both in its resplendently nostalgia-hued technicolor grandiosity and its bitter sweet sentimental portrait of nationalism, yet coldly realist in its portrait of disillusioned faith, whether from an out-modded quaint moralism in Candy's case or the harsh disappointment of Theo's loss of innocence. The film is also grandly romantic in its resounding belief in the power of friendship, loyalty, and love to transcend the weight of grief, aging, and disenchantment with one's beliefs, values, and the outward markers of self value which defined our lives, such as Cnady's position in the military or Theo's identity as a proud German.
The film's complex portrait of nationalism and English tradition is impressive in its ability to be both coldly…
Quietly marvellous film whose brilliance creeps up on you from the slightly silly opening to the moving denouement. The makeup is pretty fantastically understated too.
All is not fair in love and war.
Powell and Pressburger's 1943 epic is a sweeping tale of romance, friendship, and war the course of some 40 years in British history. Rich performances (particularly Roger Livesey, Anton Walbrook, and Deborah Kerr, who plays three distinct characters), dazzling color cinematography, and a brilliant script (among other aspects) propel this film to 'essential viewing' status.
“It stands as very possibly the finest film ever made in Britain,” Dave Kehr lauded in his original Chicago Reader capsule; and though his assertion may read as cavalier, the seemingly endless imagination of directors Michael Powell and Emeric Pressburger regularly inspires hyperbole. Infusing their personalities into the whole of film production in a manner seldom seen before the ascendancy of Stanley Kubrick, Powell and Pressburger maximized every aspect of moviemaking to guide their audience fancifully through time and space. The sensation of their work would be akin to a grown-up variation on Walt Disney’s if Powell and Pressburger were not so keen to the pull of responsibility and the mires of human emotion. Thus, THE LIFE AND DEATH OF…
A colonel who aids in the Boer War and both World Wars goes through different romances with similar-looking women and a friendship with a German. This is the first absolutely, undeniably magical film from the Archers. The film is a technical titanic that barrages us with a flurry of color, light, costumes, and sets. The screenplay is arduously attended to and romanticizes and satirizes the British military so wonderfully.
The performances in this film are astounding. Roger Livesey convincingly plays Col. Candy with gusto and charisma. We get a real sense of the loss he's gone through by the end of his story. But it's hard to talk about Livesey without talking about the film's real star: Anton Walbrook. Walbrook…
Pretty much perfect. No argument here. So many memorable moments.
I had never heard of this film until I saw it listed among Roger Ebert's collection of essays about great movies. The Life and Death of Colonel Blimp is about a career soldier in the British army and traces his life from 1902 to the middle of World War II. The film was actually made in 1942 during the height of the German bombing of London. Churchill was said to have opposed the making of the film. He evidently thought that the film threw an unfavorable light on England. There is a terrific scene where a former German officer is trying to emigrate into Britain at the beginning of the second world war and he goes into a lengthy and…
Appassionato, elegiaco con il sorriso, il contro-canto ottimista a La grande illusione: un film che salta con disinvoltura sorprendente e vitalità tra i registri e i generi per raccontare l'Inghilterra, i suoi valori e il suo cinema classico di straordinario respiro emotivo e narrativo. Ovviamente uso di colori e immagini da applausi.
The quietest, most melancholic epic you'll ever watch it your life.
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…