Written, produced and directed by Michael Powell and Emeric Pressburger
(1946 - B&W and Colour)
It's night over Europe, the night of 2nd May 1945. Squadron Leader Peter Carter attempts to call his
base before bailing out of his stricken Lancaster bomber and into the cold, murky waters of the
English Channel, but there's a catch - his parachute is cut to ribbons. By chance he makes contact
with June, a young American WAC radio operator working alone in an RAF control tower. In the moments
before fire engulfs Peter's plane and he is forced to jump (preferring this to burning up with
his plane), a special bond is formed between the two souls.
But Carter survives his landing in the ocean and the next morning, he is washed up alive on an empty
English beach. Meeting June as she returns home from work, the pair are puzzled as to how the young
pilot escaped death. It's a miracle - Peter Carter should have died that night, but a heavenly escort
missed him in the fog above the English Channel. By the time his 'Conductor' (Goring) catches up with
him 20 hours later, Peter and June have met and fallen in love. Peter argues that this changes
everything, and since it happened through no fault of his own heaven owes him a second chance. Heaven
agrees to a trial to decide his fate.
But on earth Peter's health is deteriorating, and Doctor Reeves realises that an operation is needed
to save Peter's sight. While surgeons on earth are fighting to save him, he begins his impassioned
defence in a celestial court, trying to win the right to stay with June.
An unashamedly romantic film, A Matter of Life and Death was made during the most creative period
of Michael Powell and Emeric Pressburger's illustrious career together. As director and writer,
Powell and Pressburger were a formidable creative team whose work dominated British cinema during
the forties. A profound influence over Martin Scorsese - a close friend of Powell's for the last
16 years of his life - and a host of other contemporary directors, the films of the Archers (Powell
and Pressburger's production company) are as stunning and entertaining now as they were upon their
original release.
A Matter of Life and Death is probably Powell and Pressburger's most visually arresting film. From
the opening shot of the Earth travelling through space, to an eyelid closing over a camera,
signalling Peter's sedation prior to the emergency operation, Powell's innovative use of both camera
and special effects still manages to surprise. Similarly inspired was the choice to film heaven in
monochrome and Earth in all its Technicolor splendour. A reflection of Peter's desire to stay amongst
the living, the effect can also be seen as an attempt to offer a more optimistic future for Britain,
following the years of suffering caused by the Second World War.
Adding to the film's poetic quality is Pressburger's articulate script. His writing delights in
employing elements of the supernatural and offering an alternative vision of heaven, whilst firmly
grounding Peter and June's romance within the realities of war-torn Britain. Pressburger's writing
nevertheless shows no fear in playing with dramatic conventions, drawing on subjects as diverse as
cultural imperialism and the emotional power of our senses.
A Matter of Life and Death is a remarkable celebration of life and a testament to the enduring
qualities of Powell and Pressburger's films. Acted to perfection by its cast (David Niven rarely
bettered his performance as Peter Carter) and engrossing throughout. Relish this exquisite and
outstanding blend of fantasy and reality, which is undoubtedly one of Britain's finest films.
The film was made at the instigation of the Ministry of Information who wanted propaganda stressing
the need for good relations between Britain and America. However, A Matter Of Life And Death easily
transcends being mere propaganda, and remains a funny, romantic and moving film that richly deserves
the label masterpiece.
