Stewart Granger became a star in a series of costume melodramas for Gainsborough, a subsidiary for Rank – so it’s no surprise he was in demand for similar roles for other companies (Captain Boycott, Blanche Fury, this).
This was made at Ealing, a company which became legendary for its comedies – but that wasn’t really until Whisky Galore the year after this. Galore was directed by Alex Mackendrick, who co-wrote this, and it’s a good, smart script. It has the advantage of being based on a terrific piece of material – the early unhappy marriage of the Hanoverian ruler who became King George I of England, and Sophia of Dorothea.
This was made at Ealing, a company which became legendary for its comedies – but that wasn’t really until Whisky Galore the year after this. Galore was directed by Alex Mackendrick, who co-wrote this, and it’s a good, smart script. It has the advantage of being based on a terrific piece of material – the early unhappy marriage of the Hanoverian ruler who became King George I of England, and Sophia of Dorothea.
Joan Greenwood isn’t that well cast as Sophia, who is meant to be a poor little thing, a Phyllis Calvert type. Greenwood had a husky voice and knowing smile that is sexy but too confident here. Granger is perfectly cast though and there’s superb support from Flora Robson (Granger’s discarded mistress) and Peter Bull (George) – roles that would normally have been played by Margaret Lockwood/Jean Kent and James Mason/Dennis Price.
Maybe that’s why the film wasn’t a success at the box office – Robson and Bull are ugly, not attractive at all; they don’t have the “attraction of dark side” that Lockwood/Mason had.
I think the other reason is that it's a depressing story. The Man in Grey ended with possible happiness for the future day couple - no one gets a happy ending here.
The sets and costumes are terrific but I don’t think it needed to be colour – British colour photography wasn’t that crash hot around this time, unless it was done by Jack Cardiff. The direction tries interesting things – I particularly liked the near silent assassination of Granger at the end (a young Anthony Quayle does the final deed).
I think the other reason is that it's a depressing story. The Man in Grey ended with possible happiness for the future day couple - no one gets a happy ending here.
The sets and costumes are terrific but I don’t think it needed to be colour – British colour photography wasn’t that crash hot around this time, unless it was done by Jack Cardiff. The direction tries interesting things – I particularly liked the near silent assassination of Granger at the end (a young Anthony Quayle does the final deed).
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