The Man Who Loved Redheads | |
---|---|
Directed by | Harold French |
Written by | Terence Rattigan |
Produced by | Josef Somlo |
Starring | Moira Shearer John Justin Roland Culver |
Cinematography | Georges Périnal |
Edited by | Bert Bates |
Music by | Benjamin Frankel |
Production company | |
Distributed by | British Lion Films (UK) |
Release date |
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Running time | 100 mins |
Country | United Kingdom |
Language | English |
Box office | £94,870 (UK) [1] |
The Man Who Loved Redheads is a 1955 British comedy film directed by Harold French and starring Moira Shearer, John Justin and Roland Culver. [2] [3] The film is written by Terence Rattigan based on his play Who Is Sylvia? (1950) [4] which is reputedly a thinly veiled account of the author's philandering father. [5] The film follows the play fairly closely, its main difference being the turning of Sylvia into a redhead. [6]
The film contains a ballet sequence featuring extracts from The Sleeping Beauty , which was decorated by Loudon Sainthill. [7] [3]
Young peer and junior member of the Foreign Office, Mark St. Neots, is obsessed with the memory of Sylvia, a 16-year-old redhead he met at a party as a boy, and vowed he would love forever. Now older and respectably married, Mark still retains his image of the beautiful young girl with the red hair, and spends the rest of his life searching for her through a string of casual affairs.
The film was the last movie from director Harold French:
I didn't like that – I didn't enjoy making it, or seeing it. I got on all right with Moira but I didn't think she was quite strong enough. I felt we were under-cast. You couldn't meet a nicer man than the leading man, John Justin, but I really wanted Kenneth More. But it wasn't a very good play and Terry did the screenplay as well. Of course Gladys Cooper steals the whole thing in the last few minutes... I quarrelled with Korda about it. I had a clause in my contract with him that he wasn't to come on the set, but he did come a few times and suggest very old fashioned ideas. His days as a great producer were pretty much over by then and he was tired. [8]
In a contemporary reviews The Monthly Film Bulletin wrote: "Here is that world of one-level character drawing that one hoped the British cinema had left behind for ever. ... Moira Shearer's style of acting matches the material; she regains her authority in a version of the Sleeping Beauty ballet and in her delightfully danced Charleston. John Justin's performance is not proof against the fact that comic infidelity among the English, when not expressed in terms of farce, can easily look lascivious. Gladys Cooper deals with her part with commendable tact: that a woman should be aware of her husband's constant infidelities for some forty years and not utter a word is surely carrying the idea of upper-class dignity a litle far." [9]
Kine Weekly wrote: "Moira Shearer not only dances delightfully and breaks into a Charleston, but also proves herself to be a brilliant character actress by living Ihe parts of Sylvia, Daphne, Olga and Colette. John Justin is just right as the pompous, yet susceptible, Mark, Roland Culver makes a charming reprobate as Oscar, and Gladys Cooper and Harry Andrews also register as Caroline and Oscar's butler respectively." [10]
Variety wrote: "The entire plot is done with a bright, nimble touch ... Harold French's polished direction is matched by other technical credits." [11]
The New York Times wrote "With the aid of an expert cast and a director endowed with a deft, comic touch and a high regard for the subtleties of the English language, Mr. Rattigan and the producers have created a charming lark, light as a zephyr and just as welcome these days," before singling out Moira Shearer, who "In essaying the roles of the 'redheads,' has developed acting talents that are both surprising and refreshing". [7]
The Evening Standard wrote of the film, "it's featherweight, but it's fun". [5]
TV Guide called it "An engaging British comedy". [12]
Sky Cinema found it "Sometimes witty but often dated," concluding that "The film's attitudes to class do it little credit, but there is compensation in a string of cameo roles played with real dry wit: Harry Andrews' butler, Joan Benham's model, Patricia Cutts' good time girl, Moyra Fraser's sardonic Ethel and, perhaps best of all, Gladys Cooper as a wife of long experience who has all the answers." [4]
Separate Tables is the collective name of two one-act plays by Terence Rattigan, both taking place in the Beauregard Private Hotel, Bournemouth, on the south coast of England. The first play, titled Table by the Window, focuses on the troubled relationship between a disgraced Labour politician and his ex-wife. The second play, Table Number Seven, is set about 18 months after the events of the previous play, and deals with the touching friendship between a repressed spinster and Major Pollock, a kindly but bogus man posing as an upper-class retired army officer. The two main roles in both plays are written to be played by the same performers. The secondary characters – permanent residents, the hotel's manager, and members of the staff – appear in both plays.
Sir Terence Mervyn Rattigan was a British dramatist and screenwriter. He was one of England's most popular mid-20th-century dramatists. His plays are typically set in an upper-middle-class background. He wrote The Winslow Boy (1946), The Browning Version (1948), The Deep Blue Sea (1952) and Separate Tables (1954), among many others.
Dame Gladys Constance Cooper, was an English actress, theatrical manager and producer, whose career spanned seven decades on stage, in films and on television.
Kenneth Gilbert More CBE was an English actor.
Gene Barry was an American stage, screen, and television actor and singer. Barry is best remembered for his leading roles in the films The Atomic City (1952) and The War of the Worlds (1953) and for his portrayal of the title characters in the TV series Bat Masterson and Burke's Law, among many roles.
Why Didn't They Ask Evans? is a work of detective fiction by Agatha Christie, first published in the United Kingdom by the Collins Crime Club in September 1934 and in the United States by Dodd, Mead and Company in 1935 under the title of The Boomerang Clue. The UK edition retailed at seven shillings and sixpence (7/6) and the US edition at $2.00.
Patricia Cutts was an English film and television actress. She was the first person to portray the character of Blanche Hunt in ITV soap opera Coronation Street, appearing in two episodes.
Moyra Fraser was an Australian-born English actress and ballet dancer, who is best known for playing Penny in the long-running sitcom As Time Goes By. Her sister was the actress Shelagh Fraser. She married author Douglas Sutherland, with whom she had a daughter, and Roger Lubbock, by whom she had two sons.
Joan Benham was an English actress best known for her portrayal of Lady Prudence Fairfax in the ITV period drama series Upstairs, Downstairs. She was born in London and was the first cousin of Hollywood actress Olive Sturgess.
The Deep Blue Sea is a 1955 British drama film directed by Anatole Litvak, starring Vivien Leigh and Kenneth More, and produced by London Films and released by Twentieth Century Fox. The picture was based on the 1952 play of the same name by Terence Rattigan.
John Justin was a British stage and film actor.
French Without Tears is a 1939 British comedy film directed by Anthony Asquith and starring Ray Milland. It was based on the 1936 play of the same name by Terence Rattigan, who also co-wrote the script. An on-off working relationship between Asquith and Rattigan began with this film and continued over the next 15 years.
Separate Tables is a 1958 American drama film starring Rita Hayworth, Deborah Kerr, David Niven, Burt Lancaster, and Wendy Hiller, based on two one-act plays by Terence Rattigan that were collectively known by this name. Niven and Hiller won Academy Awards for Best Actor and Best Supporting Actress respectively for their performances. The picture was directed by Delbert Mann and adapted for the screen by Rattigan, John Gay and an uncredited John Michael Hayes. Mary Grant and Edith Head designed the film's costumes.
Diane Lavinia Hart was an English actress in both films and West End theatre, political campaigner, and inventor.
Quiet Wedding is a 1941 British romantic comedy film directed by Anthony Asquith and starring Margaret Lockwood, Derek Farr and Marjorie Fielding. The screenplay was written by Terence Rattigan and Anatole de Grunwald based on the play Quiet Wedding by Esther McCracken. The film was remade in 1958 as Happy Is the Bride.
An Alligator Named Daisy is a 1955 British comedy film directed by J. Lee Thompson and starring Donald Sinden, Jeannie Carson, James Robertson Justice, Diana Dors, Roland Culver and Stanley Holloway. It was written by Jack Davies based on the 1954 novel of the same name by Charles Terrot.
The Teckman Mystery is a 1954 British mystery film directed by Wendy Toye and starring Margaret Leighton, John Justin, Roland Culver and Michael Medwin. It was shot at Shepperton Studios with sets designed by the art director William Kellner. Location shooting took place around London including in Kensington, Belgravia, Northolt Aerodrome and Tower Bridge. It was distributed by British Lion.
Simon and Laura is a 1955 British comedy film directed by Muriel Box and starring Peter Finch and Kay Kendall.
English Without Tears is a 1944 British romantic comedy film directed by Harold French and starring Michael Wilding, Penelope Dudley-Ward and Lilli Palmer. The screenplay was by Terrance Rattigan and Anatole de Grunwald. It was released in the U.S. under the title Her Man Gilbey, as a reference to the classic Screwball comedy, My Man Godfrey (1936).
Who Is Sylvia? is a 1950 comedy play by the British writer Terence Rattigan about a man obsessed with the image of a woman he met as a seventeen year old and his search for her throughout the rest of his life. The play offered a thinly veiled portrayal of Rattigan's own philandering father. Like Perchance to Dream, Ivor Novello's long-running musical terminating only two years previously, Rattigan chose a line from William Shakespeare for his title. The line is the first wistful question of a song passage in The Two Gentlemen of Verona.