Origional at
6Degrees
A Matter of Life and Death
Review by Anthony Antoniou
6 degrees: April 2000
The Ministry of Information must have been shocked when, having commissioned
Powell and Pressburger to come up with a propaganda puff piece to aid Anglo-American
relations, they got A Matter of Life and Death in return. This 1946
masterwork starts with a cracking opening sequence and just gets better
from there. During World War II, Squadron Leader Peter Carter (an exceptionally
suave David Niven, even by his standards) is hurtling towards terra firma
in a shot-up plane, with a dead crew and a shredded parachute, sharing his
last moments with American WAC June (Kim Hunter) before surrendering to
his imminent and inevitable death.
But, due to that most traditional of English weather, fog, he doesn't die.
And before Heaven's administrators realise a mistake has been made, Carter
and June fall in love, much to the chagrin of the celestial emissary who
comes to take him away. And the film is only just getting started...
Before the end titles roll, we are treated to a cosmic battle for life and
love in both Heaven and Earth, as Carter's crippling headaches intensify
and the pencil pushers of Heaven conspire to spirit him away, as the drama
unfolds in the mind of the poet-cum-airman.
A Matter of Life and Death works on so many levels that it demands
repeated viewings, and gives all the more reason to welcome this new 35mm
print. Warm, fuzzy romanticism and unsentimental cynicism rub shoulders
comfortably throughout the film, resulting in an ultimately positive meditation
on the power of love to conquer all. What could potentially be trite and
banal actually works incredibly well.
The film explores the nature of national identity and post-war relations,
the power of love and sacrifice and the effect of war on those who live
through it, and yet not once does it lose sight of the intimate tale of
two lovers fighting for one another.
The contrast between the lush dreamlike fantastical Earth and the harsh
monochrome red-tape hell that is Heaven is perfectly rendered. "One is starved
of Technicolor up there!" complains Conductor 71 on one of his forays to
Earth to retrieve his errant charge.
The film is exquisitely shot by Jack Cardiff, utilising all the tricks and
tools of cinema, and is full of memorable visual effects: the table tennis
ball frozen in mid-air; Dr. Reeves' camera obscura; the panoramic view of
the heavenly court room, quite literally packed to the rafters with spectators.
But these all take second place to the seemingly endless staircase between
our world and the next. (The film was unfortunately named Stairway to
Heaven on its US release).
A Matter of Life and Death is full of sparkling banter that bounces
between the characters, and the performances are uniformly excellent. Roger
Livesey plays Dr. Frank Reeves, Carter's defender in both worlds, with great
authority and presence. Raymond Massey scowls throughout as Abraham Farlan,
who will be damned if he will let a young Boston girl be lost to an Englishman.
But it is Marius Göring as the foppish dandy Conductor 71, who steals
the film from the rest of the cast with his infectious charm.
The film confirms Powell and Pressburger's reputation as great directors,
and A Matter of Life and Death is the greatest of their films. However,
you can't help being slightly saddened at the fact that, with its humour,
ambition, scope, vitality and, above all, optimism, they really don't make
'em like this anymore.
David Niven - Peter D. Carter
Kim Hunter - June
Robert Coote - Bob Trubshaw
Richard Attenborough - Young Dead Flyer
Marius Goring - Conductor 71
Bob Roberts - Dr. Gaertler
Raymond Massey - Abraham Farlan
Directors - Michael Powell, Emeric Pressburger
Writers - Michael Powell, Emeric Pressburger
Producers - Michael Powell, Emeric Pressburger, George R. Busby (assistant)
Music - Allan Gray
Cinematographer - Jack Cardiff
Editor - Reginald Mills
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