The Powell & Pressburger Pages Dedicated to the work of Michael Powell and Emeric Pressburger and all the other people, both actors and technicians who helped them make those wonderful films. A lot of the documents have been sent to me or have come from other web sites. The name of the web site is given where known. If I have unintentionally included an image or document that is copyrighted or that I shouldn't have done then please email me and I'll remove it. I make no money from this site, it's purely for the love of the films. [Any comments are by me (Steve Crook) and other members of the email list]

Naughty Bits in P&P films

---

There are various "naughty bits" in P&P films.
How many do you think are deliberate and how many are just us (or me at least) reading too much into them?
In the earlier films they tend to be more by innuendo.

The Phantom Light (1935)

Binnie Hale's general flirting when trying to get to the lighthouse. The shot of her in her undies while she's changing out of her wet clothes. Her adaptation of the spare pair of trousers.

Contraband (1940)

I have often thought that this was one of the naughtiest films of the decade. There's a list of reasons why I think it deserves such an honour.

A Canterbury Tale (1944)

Nobody comments much that Alison was living by "the old bend" in the caravan with her fiancée the previous summer. In the 1940s, such a holiday would have been frowned upon. Even though they were engaged, they weren't supposed to be alone in such intimate circumstances.

I Know Where I'm Going! (1945)

Torquil's comment about him having "a small one" when he books rooms for himself and Joan at the Western Isles Hotel?

Jane Langston suggests:
More naughty bits from IKWIG: Of course, the naked statue with that branch thing across it at the beginning with Joan and her father in the nightclub (you sure didn't see naked statuary in American films of this time, playfully covered up or otherwise!) --- but also, and it didn't sink in for me until about a dozen or so viewings --- in the ceilidh scene, when Joan is on the ladder next to Torquil and she is describing the interior of Moy Castle to him, there are the sounds above them in the hayloft or whatever above them, of a woman saying "no, no" and a man responding "yes, yes, yes" ... it appears to me that monsieur is doing his best to persuade the lady to ... well, do I have to spell it out? The proverbial "roll in the hay"? Bits of straw are falling down around Joan and Torquil indicating physical motions of some kind being produced above them, whether of resistance or acquiescence or what ... I mean, I don't think they're having a political argument or discussing what's for dinner or whatever ... Steve, watch this scene again and see if you don't agree. I read Ms. Pam Cook's little BFI monograph which came out last year and had hoped that she had noticed it too but found no mention of it ...

Louise Lamont adds:
The dedication of IKWIG to True Scotsmen always struck me as tongue-in-cheek and naughty-eyes-a-twinkling: it's not just a dedication to Scotsmen, or even just Scots, but 'true' Scotsmen - surely the adjective is meant to allude to the hordes of bare-bummed kiltwearers who answer to that epiphet? Of course, given that, you have to wonder what exactly was running through Joan's mind when she scans the kilted Torquil up and down at Rebecca's tea ...

A Matter of Life and Death (1946)

Matthew Barker points out:
AMOLAD has that lovely exchange between Dr Reeves and June along the lines of "It's just his mind I'm interested in". In fact the whole relationship between June and Dr Reeves is a delight - humourous and incredibly flirty!

Steve adds:
Some have suggested that there was some definite desire there but I always see it as more avuncular, as an older best friend interested in her love life.

The bit where June kisses Dr Reeves when they're leaving the camera obscura as they discuss the shape of his nose is good as well. Also, when they're taking a break from the table tennis and Doc Reeves says he finds Peter fascinating, June goes all girly as she says breathily "so do I".

Black Narcissus (1947)

When Mr Dean introduces Kanchi and he asks Clodagh "Are you sure there isn't any question you're dying to ask me?"
This is a reference to the unasked question about Mr Dean's relationship with Kanchi.

Clodgh's admission to Mr Dean when she's telling him about Con that she "had shown she loved him".

The Red Shoes (1948)

Doc M points out:
Dear Steve,
Re: 'naughty bits' - has no-one ever noticed the view from Boris's office in Monte Carlo? I was amused that one IMDb reviewer referred to it as a 'gargoyle': no, it's a back view of a beautiful winged Classical-looking nude, gender not entirely clear. Another of the discreet gay hints?
love,
Marianne

The Small Back Room (1949)

Hylton Holt writes:
Susan and Sammy are certainly very cosily "adjacent", a situation she coyly admits to Captain Stewart (the Michael Gough character) when he offers her a lift home and she responds he already has.

The Elusive Pimpernel (1950)

Doc M writes:
Re-watching The Pimp, I noticed another 'naughty bit' - when Prinny (Jack Hawkins) is playing blind man's buff, he can see under the blindfold, and has a panoramic view of the cleavages of several of the ladies.

Gone to Earth (1950)

Bachelor and rogue Jack Reddin having a box full of women's dresses in his house.

Of course he could be keeping them for his many girlfriends ... but why would they all need to change their dresses?