Was it an intentional symbol that the cat be white? I ask because I found the film very dark and the white cat on the chair in front of the fire seemed an image of light and happiness/comfort that seemed lacking in Sammy's life.
I'm a fountain of bloodshare
In the shape of a girl
And an image of light and happiness/comfort that was missing after Sammy's row with Susan, along with her photo.
Kathleen told us that it was actually her cat, that's why it was so well behaved. It was used to seeing her around
Steve
Kathleen told us that it was actually her cat, that's why it was so well behaved.So, do you think this cat was used because it would conform to filming (!) and not because of its colour? When did Ms Byron share that anecdote?
an image of light and happiness/comfort that was missing after Sammy's row with Susan, along with her photoHe seemed most distraught when he called Snowball's name after seeing Susan's photo gone. Poor Sammy.
I'm a fountain of bloodshare
In the shape of a girl
Kathleen presented a screening of Black Narcissus at the NFT in London in March 2000 when they ran a season of P&P films there. She stayed for a Q&A session afterwards where she talked with Ian Christie about all the films she made for P&P.
My friend Natacha & I blagged our way into the reception afterwards (with the assistance of Columba Powell) where we chatted to Kathleen and she signed my AMOLAD book (the one by Eric Warman)
That season included some of Kathleen's other films like Prelude to Fame (1950) as a special session "Close-up: Kathleen Byron"
They also showed all the currently existing early films by Powell with an introduction and discussion led by Sergio Angelini of the National Film and Television Archive
It was a great month of P&P films at the NFT. I was there almost every day
See http://www.powell-pressburger.org/NFT/Program.html#Kathleen
As for Sammy in SBR...
I think that it wasn't just the defusing that made Sammy go to the Ministry. It was the combination of realising that he could do things that he thought were difficult or awkward (Susan accused him of being best at feeling sorry for himself and of giving up - that he though of himself as a person that it was just too bad about), that Susan was coming back to him and that she wanted him to go, and that he could cope with the politics due to people like R.B. and Pinker. Also, that he could make a good contribution to the war effort.
He had to battle his inner demons to defuse the bomb. Partly his drunken state but also his own strength and determination. Remember he refused assistance from Strang.
Steve
Thanks Steve for your interesting reply and anecdotes! Your P&P devotion has managed to create a whole world of experience that you wouldn't have otherwise enjoyed.
I think that it wasn't just the defusing that made Sammy go to the Ministry. It was the combination of realising that he could do things that he thought were difficult or awkward (Susan accused him of being best at feeling sorry for himself and of giving up - that he though of himself as a person that it was just too bad about), that Susan was coming back to him and that she wanted him to go, and that he could cope with the politics due to people like R.B. and Pinker. Also, that he could make a good contribution to the war effort.It is interesting how the defusing of the bomb seemed to renew something in him and perhaps Susan returned because she heard about this -? An interesting study in depression/alcoholism anyway and one I will need to rewatch, but not just yet!
He had to battle his inner demons to defuse the bomb. Partly his drunken state but also his own strength and determination. Remember he refused assistance from Strang.
I'm a fountain of bloodshare
In the shape of a girl
Thanks Steve for your interesting reply and anecdotes! Your P&P devotion has managed to create a whole world of experience that you wouldn't have otherwise enjoyed.
Thanks for the book recommendation. Pressburger adapted the book well then.
I'm a fountain of bloodshare
In the shape of a girl
Yes, but remember that every other film they made together from Contraband (1940) to [b]The Red Shoes (1948) apart from Black Narcissus (1947) was an original story by Emeric. He was so much more than just "Powell's scriptwriter" as some have dubbed him.
Oh, and all those films they made together in that golden period from 1939 to 1951, they were making at least one feature film per year. How long does it take most film-makers to make a film nowadays, with the benefit of all that modern technology? Many think they're doing well if they can make a major film in 5 years.
For the first part of their period together there was a world war going on and the country was being bombed regularly. But they still managed to turn out some amazing films that we're still fascinated by over 60 years later.
It's their total body of work that I find to be one of their major achievements. They worked in colour and in B&W, they made dramas, adventures, romances and films about ballet & opera. They made many films during the war but hardly any of them show anyone fighting. Their films often had people speaking in foreign languages but they never used subtitles.
How many other film-makers managed a record anything like that? A few maybe, but you can probably count them on the fingers of one hand
Steve
Yes, but remember that every other film they made together from Contraband (1940) to [b]The Red Shoes (1948) apart from Black Narcissus (1947) was an original story by Emeric. He was so much more than just "Powell's scriptwriter" as some have dubbed him.I wasn't undermining Pressburger's adaptation of the book. After all he could, in choosing what to use for the script, have omitted that conversation betwen Susan and Sammy that you quoted. A talented writer will be better at editing a book for a film script, which Pressburger was quite clearly.
Oh, and all those films they made together in that golden period from 1939 to 1951, they were making at least one feature film per year. How long does it take most film-makers to make a film nowadays, with the benefit of all that modern technology? Many think they're doing well if they can make a major film in 5 years.Good point. P&P appear to have had a constant team of technicians and actors who worked with them, which might have helped in shooting and production.
Their films often had people speaking in foreign languages but they never used subtitlesis one of my favourites things about them and their films.
I'm a fountain of bloodshare
In the shape of a girl
P&P appear to have had a constant team of technicians and actors who worked with them, which might have helped in shooting and production.