It was 1942, England was in the midst of war, and most of the films being made were implicitly patriotic, if not outright propaganda vehicles.

Its world is one of duels, of columns marching towards each other, of warfare as an essential (but largely harmless) rite of manhood. She expresses suffragist notions that take the officer off guard, challenges him on his automatic assumption that the best place for women is at home. Theo, who has fled Germany to live in England, is both intrigued and sorrowful at the brash charm of this “new woman.” At one point, Candy takes Theo into his den to show him a portrait of the dead wife who so marvelously resembled Edith. Among the many superb writers on this film, almost no one I know of—with the exception of Penelope Andrews in the Huffington Post—has paid much attention to Kerr, or to Powell’s women in general. One of the many oddities surrounding The Life and Death of Colonel Blimp (1943) is that as critics have come to acclaim it as a masterpiece—perhaps the masterpiece—of British cinema, this marvelously uncategorizable epic of love and war has remained relatively unknown to the moviegoing public. Brashly and against orders, Candy makes a secret trip to Berlin, where the beautiful Englishwoman—a ravishing, twenty-year-old Kerr—proves as spirited and intemperate as he in rooting out the double agent. (1945) has acquired an ardent circle of fans that extends beyond buffs and specialists. But she, too, is possessed of an insight he lacks. Even I Know Where I’m Going! Categories, belonging to the rational-adult here and now, are useless when it comes to Powell and Pressburger. Think also of I Know Where I’m Going! Directed by Michael Powell and Emeric Pressburger • 1943 • United Kingdom Ken Jennings is the all-time winningest champion in the history of the quiz show Jeopardy!, having won $2.5 million during his seventy-five-game streak in 2004. .

A story of cross-cultural male bonding, with Roger Livesey’s General Clive Candy and Anton Walbrook’s Prussian officer, Theo Kretschmar-Schuldorff, mirroring the collaboration between Michael Powell and Emeric Pressburger? Viewing it nowadays, it’s hard to view The Life and Death of Colonel Blimp as anything but hopelessly quaint. It is precisely this phenomenon that Powell plays on wittily and profoundly as the loves of General Candy reverberate through time. Powell may have been part child, but the other part was all-seeing despot.

The story spans four decades, from the Boer War through the First World War and ending finally in 1942, the Blitz, and the time in which the film was made. Directed by Michael Powell, Emeric Pressburger. An epic, certainly, but a war epic or a comedy? The Life and Death of Colonel Blimp is a 1943 romantic drama war film written, produced and directed by the British film making team of Michael Powell and Emeric Pressburger.It stars Roger Livesey, Deborah Kerr and Anton Walbrook.The title derives from the satirical Colonel Blimp comic strip by David Low, but the story itself is original.The film is renowned for its Technicolor cinematography. And if the Archers’ films couldn’t be pinned down as to genre, where did Powell and Pressburger fit in as auteurs? Get info about new releases, essays and interviews on the Current, Top 10 lists, and sales.

Considered by many to be the finest British film ever made, THE LIFE AND DEATH OF COLONEL BLIMP, by Michael Powell and Emeric Pressburger, is a stirring masterpiece like no other.

In Triumphant Technicolor! But what, exactly, is Colonel Blimp? Sarris is another exception, having confessed that one of the reasons he came to appreciate Colonel Blimp, preferring it even to Citizen Kane, was the centrality of a woman, and the “redemptive romanticism” of the recurring (and thus unquenchable) love between the Kerr and Livesey characters.

Though more delicate than Wendy Hiller (Powell’s first choice for the role), Kerr’s three women are, in different ways, just as strong-minded as Hiller in I Know Where I’m Going!, or the intrepid Sim in A Canterbury Tale, incipient feminists who provoke as much as they charm. Considered by many to be the finest British film ever made, The Life and Death of Colonel Blimp, by Michael Powell and Emeric Pressburger, is a stirring masterpiece like no other. Though The Red Shoes is possibly the most popular and visually entrancing dance film of all time, the producing, directing, and writing team of the British Michael Powell and the Hungarian Emeric Pressburger created numerous other odes to the power of art and the imagination, always going against the realist strain of British cinema. With Roger Livesey, Deborah Kerr, Anton Walbrook, James McKechnie. But of all their films, Colonel Blimp was the most politically daring. The woman is of course Deborah Kerr, the governess whose complaint has brought the knight-errant to her side. Editor Thelma Schoonmaker Powell was interviewed for the following program in New York in 2012.

Thanks to this magical coincidence, his love will remain forever young, forever fair. (Critic Andrew Sarris reported seeing the original U.S. release version—possibly the same version Scorsese saw on television—when it opened and being immediately intrigued, if puzzled, by it.

This is primarily due to the obscurit…, Edith Hunter, Barbara Wynne, “Johnny” Cannon, New digital master from the Film Foundation’s 2012 4K restoration, with uncompressed monaural soundtrack on the Blu-ray edition, Audio commentary featuring director Michael Powell and filmmaker Martin Scorsese, Restoration demonstration, hosted by Scorsese, Gallery featuring rare behind-the-scenes production stills, Gallery tracing the history of David Low’s original Colonel Blimp cartoons, English subtitles for the deaf and hard of hearing, PLUS: A booklet featuring a new essay by critic Molly Haskell. He now has for his driver a beautiful redhead who’s brasher and more modern than his first two loves but is otherwise their spitting image. Permission to use army locations and matériel—and to get Laurence Olivier, Powell’s first choice for Candy, released from duty—was denied.

Of the subtlety and wisdom of her performance, the shifts in register as she changes personae, too little has been said.