The Valiant (1962 film)

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The Valiant
"The Valiant" (1962).jpg
British quad poster
Directed by Roy Ward Baker
Written byPlayL'Equipage au complet
Robert Mallet (writer)
Adaptation:
Giorgio Capitani
Franca Caprino
Robert Mallet
Willis Hall
Keith Waterhouse
Produced by Jon Penington
Starring
Cinematography Wilkie Cooper
Edited by
  • Lea Pardo
  • John Pomeroy
Music by Christopher Whelen
Production
companies
  • BHP
  • Euro International Film (EIA)
Distributed by United Artists Corporation (UK)
Release date
  • 4 January 1962 (1962-01-04)
Running time
100 minutes
CountryUnited Kingdom
LanguageEnglish
Budget£245,439 [1] [2]

The Valiant (also known as Affondamento Della Valiant) is a 1962 British-Italian drama film directed by Roy Ward Baker and starring John Mills, Ettore Manni, Roberto Risso, Robert Shaw, and Liam Redmond. [3] It is based on the Italian manned torpedo attack which seriously damaged the two British battleships Valiant and Queen Elizabeth and the oil tanker Sagona at the port of Alexandria in December 1941.

Contents

The film had a Royal Gala Premiere on 4 January 1962 at the Odeon Leicester Square in the presence of Princess Marina, Duchess of Kent. [4]

Plot

Alexandria December, 1941. Two Italian frogmen are captured under suspicion of placing a mine under HMS Valiant. They are brought onto the ship for questioning.

Cast

Production

Roy Ward Baker said he was approached by John Pennington with the script by Willis Hall and Keith Waterhouse. "It was a good script," says Baker. "The two sailors were given some sour wartime humour." The producers wanted John Mills to play the captain and asked Baker, "to contact him because we'd made so many pictures together. So, I did and with a certain amount of reluctance Johnny agreed to do it. From that point on we were more or less in business." [5]

Most of the finance came from Italy, where the movie was shot with a British-Italian crew. [5]

Reception

The Monthly Film Bulletin wrote: "Bitty narrative jumping from character to character, unimaginative use of sound including that hoary thriller standby, the loudly ticking clock, and stiff-upper-lip characters with stock human problems obtrusively tacked on – all end up dissipating audience involvement. And, although the screenplay is adapted from a French stage hit, "the usual lower deck humorists are there to kill off whatever suspense has been achieved. Dinsdale Landen and John Meillon are a good team in these Pinter/music-hall réles, and it is not their fault that they do so much to wreck the story's development. The mildly clever epilogue to the explosion is put across in so skimpy a fashion that it goes for nothing. As for the somewhat intermittent ethics of the subplot, not all John Mills's wrinkled concern nor Robert Shaw's manly distress makes their moral problem for a moment convincingly seaworthy. By the end, it is the Italian prisoners and H.M.S. Valiant, played ironically by an Italian cruiser reprieved from the scrapyard, which have gained most sympathy. And perhaps that suggests the national viewpoint from which the film should in fact have been made." [6]

See also

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References

  1. Chapman, L. (2021). “They wanted a bigger, more ambitious film”: Film Finances and the American “Runaways” That Ran Away. Journal of British Cinema and Television, 18(2), 176–197 p 179. https://doi.org/10.3366/jbctv.2021.0565
  2. Chapman, J. (2022). The Money Behind the Screen: A History of British Film Finance, 1945-1985. Edinburgh University Press p 360
  3. "The Valiant". British Film Institute Collections Search. Retrieved 18 August 2024.
  4. The Times online archive 4/5 Jan 1962
  5. 1 2 Fowler, Roy (October–November 1989). "Roy Ward Baker Interview" (PDF). British Entertainment History Project. pp. 120–121.
  6. "The Valiant". The Monthly Film Bulletin . 29 (336): 22. 1 January 1962 via ProQuest.