Tag Archives: Claude Rains

141 – The Passionate Friends

We visit 1949’s romantic drama The Passionate Friends, a favourite of previous podcast guest Celia, who describes it as “what would have happened if they’d had the affair in Brief Encounter“. It offers a complex story of love and relationships, characters who want different things from their relationships and a love triangle that gradually shifts and changes over many years. Mary (Ann Todd) loves Steven (Trevor Howard), but refuses to marry him, wanting to belong only to herself, as she puts it; instead, she marries Howard (Claude Rains), a successful banker who gives her security, stability, social status and affection. Dramatic irony, shifting affections and a sensitivity to the subtleties of love and relationships create a fascinating and beautiful film.

There’s a lot to discuss, including and especially the unconventional Howard – in any other film he would be an obstacle to the romantic couple’s true love, but here, although he has villainous aspects, he is revealed to be as three dimensional a character and as deserving of respect and a happy ending as anybody else. It’s the part he plays in the film’s conclusion that makes Mike cry. We also talk about David Lean’s direction, his use of visual layering, considered staging and occasional flourishes of editing emphasising the characters’ emotional states and calmly and smartly conveying to the audience the right information at the right time.

It’s not held in the esteem that Brief Encounter, a film with obvious parallels in many ways, is, and that’s unfortunate, as it is deeply felt and quite beautiful. It appears to only be available on Blu-Ray in France (that’s where Mike’s copy had to come from, at any rate), but its loving restoration is worth seeking out.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

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109 – The Adventures of Robin Hood

One of the first three-strip Technicolor films, and an action adventure classic, we visit 1938’s The Adventures of Robin Hood, featuring Errol Flynn at his dashing, cheeky peak. We get swept up in its excited use of colour, social conscience, pleasantly laddish tone and swashbuckling combat.

Mike sees some of the film at an ironic distance, particularly the action, which he finds charmingly amateur. But while some things might have significantly changed over the last eighty years, the connection to the characters and the film’s sense of fun is intact. There’s a discussion to be had over the film’s messaging – José greatly appreciates the democratic tone to everything, the fairness with which Robin treats everybody and the grace with which he is able to accept defeat, while Mike suggests that his magnanimity would be more impactful if we were able to feel he were ever in true peril – but Flynn is simply so charming, so in control, and indeed, such a star, that the film can never sell it. Flynn conveys a certain superiority through masculinity, as José notes – he is a man among men.

The Robin Hood legend endures, this 1938 version only one of countless film adaptations, and we discuss why that might be. And there’s always room to mock Americans who try to tell English stories and get things wrong. It’s the joy of being English.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

106 – Casablanca

One of us has seen it countless times. The other has never seen it. Fortunately for José, Mike instantly falls in love with Casablanca.

In a way, the pressure was on for Mike to enjoy it, as it’s considered one of the greatest films of all time, and its screenplay in particular held up as a shining example of the craft. And how effortless it is to enjoy it! José notes how rare it is in cinema to see a man suffer for love, as Rick does, and the film’s romance is intense and unapologetic. We swoon over the elegance of Michael Curtiz’s direction, the sheer beauty of the cinematography – nobody these days is shot like Ingrid Bergman is here – and the rich cast of characters, played by one of the all-time great supporting casts.

José considers how the refugee situation and politics depicted – that of a war-torn world relocating regular people to geographic and bureaucratic purgatory – haven’t gone away, and Mike picks up on Madeleine Lebeau’s Yvonne, a minor character whose story recapitulates Rick’s in microcosm. The Marseillaise scene in particular gives us a lot to talk about. And so does much, much more.

It’s a good film. Who knew?

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.