A Place of One's Own | |
---|---|
Directed by | Bernard Knowles |
Written by | Brock Williams |
Based on | A Place of One's Own by Osbert Sitwell |
Produced by | R. J. Minney |
Starring | James Mason Barbara Mullen Margaret Lockwood Dennis Price Dulcie Gray |
Cinematography | Stephen Dade |
Edited by | Charles Knott |
Music by | Hubert Bath |
Production company | |
Distributed by | Eagle-Lion Distributors |
Release dates |
1949 (USA) |
Running time | 92 minutes |
Country | United Kingdom |
Language | English |
A Place of One's Own is a 1945 British film directed by Bernard Knowles. An atmospheric ghost story based on the 1940 novel of the same title by Osbert Sitwell, it stars James Mason, Barbara Mullen, Margaret Lockwood, Dennis Price and Dulcie Gray. Mason and Mullen are artificially aged to play the old couple. It was one of the cycle of Gainsborough melodramas.
The Smedhursts, newly retired, buy Bellingham House, which has been vacant for over 40 years and is rumoured to be haunted by the previous owner, Elizabeth, who is widely believed to have been murdered by her guardians. Mrs Smedhurst employs a young lady, Annette, as a companion. Annette becomes haunted by Elizabeth, who is waiting for her lover, Dr Marsham. Mr Smedhurst asks the police to find Dr Marsham, and he comes to visit Annette/Elizabeth. The next morning, everyone in the house feels "lighter" and Annette wakes up recovered. A local policeman arrives and announces that Dr Marsham has been found but will not be able to visit as he has died...
The film was based on a novel published in 1942. [1]
James Mason wrote in his memoirs that when he read the script "not only did I enthuse but I even asked that I might be permitted to play the role of the elderly retiree in the story." [2]
This was the first time Margaret Lockwood used a beauty spot on her cheek in a film, something which became a trademark. [3]
Vernon Sewell says he was going to direct the film but then Maurice Ostrer asked him to make Madonna of the Seven Moons instead. Sewell refused and left Gainsborough. [4]
According to Kinematograph Weekly the film performed well at the British box office in 1945. [5] [6]
Considering the popularity at the time of stars James Mason and Margaret Lockwood, however, the film was considered a financial disappointment. Mason later wrote in his memoirs that the blame needed to be shared between himself, for wanting to play the role, and the producer, for letting him.
Of course it could have turned out a failure even if the most suitable actor in the world had played that part. But the reactions of the top brass at the studio did nothing to allay my own feeling of guilt for having volunteered my services. In any case it was not that I was incapable of turning my hand to a character part, it was just that I had amassed what I always realized was an absurd degree of popularity, and the fan population wanted me to appear only as some heroic young lady-killer; or better-still, ladybasher. [2]
He also blamed director Bernard Knowles:
Knowles deserved his share [of blame] because he had never got over Citizen Kane and still thought that it was a shortcut to success if one had the actors play immensely long sequences without any intercutting or covering shots. In Citizen Kane the director could afford to do this because Herman Mankiewicz had revised one strong situation after another. [2]
The film was not released in the US until 1949.
James Neville Mason was an English actor. He achieved considerable success in British cinema before becoming a star in Hollywood. He was nominated for three Academy Awards, three Golden Globes and two BAFTA Awards throughout his career.
Julia Margaret Deakin is an English actress. She is known for her roles in the sitcoms So Haunt Me (1992–1994), Oh Doctor Beeching! (1996–1997) and Spaced (1999–2001). Her film appearances include Hot Fuzz (2007) and High-Rise (2015).
Dennistoun Franklyn John Rose Price was an English actor. He played Louis Mazzini in the Ealing Studios film Kind Hearts and Coronets (1949) and the omnicompetent valet Jeeves in 1960s television adaptations of P. G. Wodehouse's stories.
Margaret Mary Day Lockwood, CBE, was a British actress. One of Britain's most popular film stars of the 1930s and 1940s, her film appearances included The Lady Vanishes (1938), Night Train to Munich (1940), The Man in Grey (1943), and The Wicked Lady (1945). She was nominated for the BAFTA Award for Best British Actress for the 1955 film Cast a Dark Shadow. She also starred in the television series Justice (1971–74).
The Wicked Lady is a 1945 British costume drama film directed by Leslie Arliss and starring Margaret Lockwood in the title role as a nobleman's wife who becomes a highwaywoman for the excitement. It had one of the largest audiences for a film of its period, with an estimated British attendance of 18.4 million seeing it in cinemas, according to a 2004 ranking of the most popular sound films in Britain. In the list, compiled by the British Film Institute for Channel 4, it was placed ninth overall, and was the second-most successful British film, behind only Spring in Park Lane (1948).
Jean Kent, born Joan Mildred Field was an English film and television actress.
The Man in Grey is a 1943 British film melodrama made by Gainsborough Pictures; it is considered to be the first of a series of period costume dramas now known as the "Gainsborough melodramas". It was directed by Leslie Arliss and produced by Edward Black from a screenplay by Arliss and Margaret Kennedy that was adapted by Doreen Montgomery from the 1941 novel The Man in Grey by Eleanor Smith. The film's sets were designed by Walter Murton.
Bernard Knowles was an English film director, producer, cinematographer and screenwriter. Born in Manchester, Knowles worked with Alfred Hitchcock on numerous occasions before the director emigrated to Hollywood.
Madonna of the Seven Moons is a 1945 British drama film starring Phyllis Calvert, Stewart Granger and Patricia Roc. Directed by Arthur Crabtree for Gainsborough Pictures, the film was produced by Rubeigh James Minney, with cinematography from Jack Cox and screenplay by Roland Pertwee. It was one of the Gainsborough melodramas of the mid-1940s popular with WW2-era female audiences.
Fanny by Gaslight is a 1944 British drama film, directed by Anthony Asquith and produced by Gainsborough Pictures, set in the 1870s and adapted from a 1940 novel by Michael Sadleir.
Edward Black was a British film producer, best known for being head of production at Gainsborough Studios in the late 1930s and early 1940s, during which time he oversaw production of the Gainsborough melodramas. He also produced such classic films as The Lady Vanishes (1938).
Jassy is a 1947 British colour film historical melodrama directed by Bernard Knowles and starring Margaret Lockwood, Patricia Roc and Dennis Price. It was written by Dorothy Christie, Campbell Christie and Geoffrey Kerr based on the 1944 novel by Norah Lofts. Set in the early 19th century, it is a Gainsborough melodrama, the only one to be made in Technicolor, and was the last "official" Gainsborough melodrama.
The Gainsborough melodramas were a sequence of films produced by the British film studio Gainsborough Pictures between 1943 and 1947 that conformed to a melodramatic style. The melodramas were not a film series but an unrelated sequence of films that had similar themes that were usually developed by the same film crew and frequently recurring actors who played similar characters in each. They were mostly based on popular books by female novelists and they encompassed costume dramas, such as The Man in Grey (1943) and The Wicked Lady (1945), and modern-dress dramas, such as Love Story (1944) and They Were Sisters (1945). The popularity of the films with audiences peaked mid-1940s when cinema audiences consisted primarily of women. The influence of the films led to other British producers releasing similarly themed works, such as The Seventh Veil (1945), Pink String and Sealing Wax (1945), Hungry Hill (1947), The White Unicorn (1947), Idol of Paris (1948), and The Reluctant Widow (1950) and often with the talent that made Gainsborough melodramas successful.
The White Unicorn is a 1947 British drama film directed by Bernard Knowles and starring Margaret Lockwood, Joan Greenwood, Ian Hunter and Dennis Price. Kyra Vayne appeared as the singer. It was made at Walton Studios by the independent producer John Corfield, and released by General Film Distributors. The film's sets were designed by Norman G. Arnold. It was also known as Milkwhite Unicorn and Bad Sister.
The Magic Bow is a 1946 British musical film based on the life and loves of the Italian violinist and composer Niccolò Paganini. It was directed by Bernard Knowles. The film was entered into the 1946 Cannes Film Festival.
Home and Away is a 1956 British drama film directed by Vernon Sewell and starring Jack Warner and Kathleen Harrison. It depicts the life of an ordinary working-class man after he wins the football pools. The film reunited Warner and Harrison who had previously appeared together in the Huggetts series of films.
Harold Huth was a British actor, film director and producer.
They Were Sisters is a 1945 British melodrama film directed by Arthur Crabtree for Gainsborough Pictures and starring Phyllis Calvert and James Mason. The film was produced by Harold Huth, with cinematography from Jack Cox and screenplay by Roland Pertwee. They Were Sisters is noted for its frank, unsparing depiction of marital abuse at a time when the subject was rarely discussed openly. It was one of the Gainsborough melodramas.
Doctor Syn is a 1937 British black-and-white historical dramatic adventure film, directed by Roy William Neill for Gainsborough Pictures. It stars George Arliss, Margaret Lockwood, Graham Moffatt, and Ronald Shiner. The film is based on the Doctor Syn novels of Russell Thorndike, set in 18th-century Kent. The character of Syn and the events at the film's climax were both softened considerably in comparison to Thorndike's original storyline.
A Place of One's Own is a mystery novel written by the British author Osbert Sitwell that was published in 1940. Belonging to the ghost story genre, the novel was an extension of a short story that Sitwell had previously written. The plot follows the lives of an elderly couple at the turn of the twentieth century who move into a new house, only to discover that it appears to be haunted.