Corryvreckan

I Know Where I'm Going (1945) - Powell, Pressburger Joan Webster (Wendy Hiller) always knew what she wanted and where she was going from an early age. At age 25, she is engaged to Bellinger, an industrialist twice her age. He has summoned her to an island of Kiloran, off the North West coast of Scotland where he rented a castle for their marriage ceremony. Joan eagerly packs her bags and wedding dress, says goodbye to her worried father and heads north. According to the itinerary that was sent to her, she will take an overnight train to Glasgow, then to the port town of Tobermory then a boat to Kiloran. But when she gets to Tobermory, the weather turns bad and she is marooned for days. With the help of Torquil McNeil (Roger Livesey), a local Kiloran man who is on a brief leave from military duty, Joan secures lodging. There, she finds locals gossiping about her future husband who is throwing money around while not knowing the local way of living, which is very much tied to its nature and the sea.

At first, Joan keeps to herself out of politeness, not showing her frustration at her delay due to strong gale wind that prevents her from a short boat ride to Bellinger on Kiloran, but as each day goes by, she grows ever more impatient and bitchy to everyone around her, while the local ferry man keeps giving her vague answers about the weather and possibilities of crossing the water. Meanwhile, McNeil, whose family owns the castle that Bellinger is renting from, is very much attracted to Joan, and Joan, faithful to her betrothed, keeps her distance.

Joan gets fed up with all the waiting, and buys her way on to a boat, manned by a local boy who desperately needs money to marry a local sweetheart, who happens to be the ferry man's daughter. Everyone warns about the dangers of boat flipping over and drowning but Joan, even if it's risking other people's lives, she is stubborn and selfish and won't change her mind. McNeil first tries to convince her, then joins her to help cross the water. Predictably, the weather turns bad, the boat takes on water and the engine dies. And the boat gets caught in corryvreckan- the whirlpool created by tumultuous sea and storm.

I Know Where I'm Going is another poignant tale from the Archers (Powell & Pressburger) that shows however determined and confident you are, life always throws curve balls at you. And money isn't everything. The dangerous boat rides sequences are spectacular and some great visual effects also. It showcases the legends and culture and scenic beauty of Scotland, if not a little unconvincing romance.

Altitude Sickness

Black Narcissus (1947) - Powell/Pressburger





A young prudish nun Clodagh (Deborah Kerr) is appointed as a mother superior and sent to the Himalayas to open up a convent where Sisters would teach and provide medical services for the natives. It's a big test for her and others who are young and still haven't gotten over their earthly desires. It might be the high altitude or the clean air or that hunky man-meat Mr. Dean (David Farrar) in khaki shorts, that many of the nuns are acting strange and losing faith. Then there is an enchanting, sexed-up, 17-year old native savage named Kanchi (Jean Simmons) stirring things up. To top it all off, the convent is located in a former pleasure den used by the local general, with grand architecture and salacious wall paintings intact.

It's a soap opera high up in the mountains in glorious Technicolor backdrop and a mind-blowing achievement to think that everything was done in the studio. It culminates to the confrontation between Clodagh and Jealous, feverish Sister Ruth (Kathleen Byron) who abandons the order, at the bell tower at the edge of the cliff. P & P are not interested in religious aspects of Clodagh at all. Rather it's a magnificent adventure story and tests people go through in life. I really loved it.

Begotten

The Red Shoes (1948) - Powell/Pressburger

Amazing. Can't think of a movie in the theme of ambition begetting the life of an artist better pronounced in such a grand and fantastical way than in The Red Shoes. The 25 minute The Red Shoes production sequence plays out like the live action version of deezzznee's Fantasia on acid. There are so many great visual ideas in that scene it's mindboggling. Even with full use of Technicolor, The Red Shoes has an aura of silent era films from make-up, actors (especially Marius Goring, who played gayest French guardian angel in A Matter of Life and Death and Anton Walbrook as the ruthless dance company owner), expressive lighting to set design, all taking cues from German Expressionism.

It's campy but there are enough cynicism and perversity in Powell & Pressburger films that I dig. I doubt their other films will top this but looking forward to Black Narcissus and Blimp.

Stairway to Heaven

A Matter of Life and Death (1946) - Powell/Pressburger

An English airman (David Niven) has a brief on-air conversation with a button nosed American radio operator, June (Kim Hunter) just before he jumps from his burning plane. It was supposed to be his last good bye to the world. But he finds himself washed up ashore, because a mistake was made upstairs. Blame goes to the horrible English weather. They try to recall him but he attests, citing that he had fallen in love with June. His plea is granted and the repeal process begins.

The film is a romantic fantasy in the highest order, sort of uplifting 'love conquers all' type right after the WWII. Not the type of films I normally watch. But it's very English and enjoyable. Constant back and forth between crazy Technicolor/B&W with great transitions to massive sets & matt paintings, and with real time freeze frames and reverse motions, the film is visually mad inventive. I can see its influence everywhere. It's a very charming film. Sad to see Dr. Frank go though.