Reception
The Monthly Film Bulletin wrote: "Flesh and Blood is adapted from James Bridie's play The Sleeping Clergyman. The play was made up, in effect, of three self-contained episodes, each contributing some thing to the theme: the effect of hereditary qualities. Anatole de Grunwald, who made the adaptation, has scarcely attempted to supply that continuity which might overcome the play's episodic structure and make plausible the three melodramas in one. The first two episodes, with their very high death-rate, are dealt with in a somewhat perfunctory manner. Characters are killed off before they have time to develop, theatrically melodramatic scenes follow one another rapidly. ... The third generation is dealt with more fully, but even hereall subtlety in narration and the development of character is sacrificed to the desire to cram in a variety of scenes and happenings." [6]
Variety wrote: "In adapting this James Bridie play to the screen much elaboration has produced enough plot to make three separate stories, a lot of which is wholly incredible, with no clarification of some salient points. It has a strong cast, providing individual dramatic opportunities for most characters and is soundly directed by Anthony Kimmins. Otto Heller's camera work is exceptionally good. On its star value alone, coupled with the author's rep, it should do well locally, but its chances in the U.S. do not appear to lie In the same direction. Its prospects would be enhanced by judicious cutting." [7]
Picturegoer wrote: "Very nearly first class. That's the summing up on this absorbing story of the quirks of heredity, which gives Richard Todd a double chance – he plays father and son in a three generation work-out of the theory that one way or another, genius will out. The picture falls just short of the target because it is a little discursive, and because the director is inclined to linger too long over scenes which, though obviously first-rate, temporarily upset the flow of the story. Nevertheless, vision, thought and sensitivity have gone to the making of this film." [8]
Picture Show wrote: "Richard Todd gives a convincing portrayal in the dual role of the dying genius and his grandson, and is well supported by Andre Morell. It is necessarily episodic, but this by no means detracts from its absorbing drama." [9]
In British Sound Films: The Studio Years 1928–1959 David Quinlan rated the film as "average", writing: "Complex, rambling saga." [10]
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