Every so often a film acquires a reputation of such magnitude that one is afraid to experience it for fear of being blinded by its brilliance. We hear its name called out in list after list of "the greats" - its reputation, by shear hearsay, to ourselves becomes impeccable. As learned persons of cinema we defend its honor in spite of having never seen it, and for years put off a viewing for that one-day where our hour is at its darkest. For we know that if anything this movie will be the one thing to demonstrate the possibility of perfection in moving pictures. Eventually the day comes where we can wait no longer and after a marathon run of FRIDAY THE 13th films, we say, "Stop," and plunk the illustrious masterwork into our DVD player, only to discover that the sizzle is superior to the steak.
THE LAVENDER HILL MOB has the reputation as one of the key films in the Ealing Studios catalog. Directed by Charles "A FISH CALLED WANDA" Crichton and containing a cast including Alec Guinness, Stanley Holloway and, in a brief cameo, Audrey Hepburn, the pedigree suggests top-drawer entertainment bar none. Alas it doesn't deliver. That isn't to say the film is bad, for it does have its charm, but it's certainly not classic material.
The film tells the tale of Henry Holland (Guinness), a bank clerk who has spent a lifetime under the shoe of the system. Having nothing to show but a pittance of a paycheck and a life of living in boarding houses, he fantasizes that he is playing the role of the trustworthy employee in preparation for the day he takes the bank for all its worth. This fantasy promises to be just that until one day when he meets Pendlebury (Holloway). Pendlebury operates a novelty shop that provides just the right tools to commit the perfect crime. Together the two devise a plan that is guaranteed to make them rich beyond their wildest dreams, just so long as things don't go wrong, and they can't go wrong... right?
The essential problem with THE LAVENDER HILL MOB is that it's not quite sure which direction it would like to take. At one point it veers close to broad comedy, then intense pathos, and then thrilling suspense. Not that these three things can't co-exist with one another, it's just that THE LAVENDER HILL MOB loses balance and each direction is de-intensified by the previous one. Holland, in order to be pitied or even admired, needs to be human, but Guinness plays him as such a stereotype of the repressed man that he becomes more of a cartoon than a three dimensional character. This confuses the audience at points where intense audience sympathy is attempted by the script. How can we give our hearts to a man so synthetic? Yet by trying to explore the pathos of Holland the film negates the comedy. The tomfoolery that occurs, and the playful ways the film delights in wrecking Holland's dreams, are all happening to a sad sack. Laughing at them is like laughing at a lifetime loser for losing again. By the time the film tries to play the suspense angle, the comedy goes for the improbable coincidence not much, but enough - and loses credibility. Without that grounding there is not much to keep one engrossed in the proceedings.
If the above seems harsh, do take note that this reviewer was informed for years that this film was a sublime "classic" not to be missed, and expectations were extraordinarily high so the film was given a bit more scrutiny than it warranted. After all, it is a lighthearted caper film that millions have stumbled upon and enjoyed for its workmanlike direction, mild comedy and likeable performances. The person I watched it with, unaware of its history, said he found it "cute" and "well worth seeing." The only negative he offered, if it is a negative, was after the film was done and he read the liner notes he said, "This film is only 81 minutes, it felt like two hours." Read into that what you like.
Released by Anchor Bay Entertainment as part of their Alec Guinness Collection, THE LAVENDER HILL MOB looks fantastic on disc. As usual Anchor Bay has managed to locate the best source materials for a picture that will have long time fans weeping with joy. Along with the cleaned up soundtrack, this makes for a viewing experience that is no doubt superior to the various VHS versions floating about.
The DVD is light on perks; the disc comes with a theatrical trailer, an Alec Guinness bio, some informative liner notes, and both an English and French language track. Fans of this film may want to check out the other films in the Anchor Bay Alec Guinness Collection, including KIND HEARTS AND CORONETS, THE LADY KILLERS, THE MAN IN THE WHITE SUIT and THE CAPTAIN'S PARADISE.
LOGIN
REGISTER
RSS
HOME
