A Matter of Life and Death

I LOVE this movie. Director Michael Powell once stated that this was his favorite movie, and it is mine as well. Powell and Pressburger created a seemingly simple, superbly crafted story - the power of love against "the powers that be". However, its deception lies in the complexity of its "is it real or is it imaginary" premise. Basically, one could argue that it is simply a depiction of the effects of war on a young, poetically inclined airman during WWII. Or is it? The question is never answered one way or the other. Actually, it is never even asked. This continuous understatement is part of the film's appeal.

The innovative photography and cinematography even includes some nice touches portraying the interests of the filmmakers. For instance, Pressburger always wanted to do a cinematic version of Richard Strauss' opera, Der Rosenkavalier, about a young 18th century Viennese aristocrat. This is evident in the brief interlude in which Conductor 71, dressed in all his finery, holds the rose (which appears silver in heaven). The music even has a dreamy quality.

All of the acting is first rate - David Niven is at his most charming, and he has excellent support from veteran Roger Livesey and relative newcomer Kim Hunter. But, in my opinion, the film's charm comes from Marius Goring as Conductor 71. He by far has the most interesting role, filling each of his scenes with his innocent lightheartedness, brightening the film. It's a pity that some of Conductor 71's scenes were left on the cutting room floor. It is also a pity that Goring's comedic talents are rarely seen again on film, except in the wonderful videos of The Scarlet Pimpernel television series from the 1950s. This is by far and away the most memorable role of his film career. He is a perfect foil for relaxed style of Niven, and his virtual overstatement contrasts so nicely with the seriousness of the rest of the characters. Ironically, also in the mid -1940s, Niven also starred against another heavenly "messenger", played by Cary Grant, in The Bishop's Wife. Their acting styles were so similar that I found the result boring, unenergetic, and disappointing. As a note, according to Powell, Goring desperately wanted the role of Peter Carter, initially refusing Conductor 71. It's a good thing he gave in and gave us such a delightful portrayal.

The movie, "commissioned" to smooth over the strained relations between Britain and the U.S., overdrives its point towards the end. But it is disarming in its gentle reminders of the horrors of war - the numerous casualties, both military and civilian, the need to "go on" when faced with death. There is a conspicuous lack of WWII "enemies" in heaven, but the civilians shown are of indeterminate origin. Powell and Pressburger could have been more explicit in their depiction but it wasn't necessary. The movie may not have served its diplomatic purpose as was hoped for, but its originality continues to inspire moviemakers and viewers alike on both sides of the Atlantic.

To me A Matter of Life and Death is just that- simply the best film ever made.

From beginning to end it oozes class. It is stimulating, thought provoking, a mirror to the post war world and the relations between peoples.

The cinematography is simply stunning and the effect of mixing monochrome and Technicolour to accent the different worlds works seamlessly. The characters and plot development are near perfect and the attention to detail promotes a thoroughly believable fantasy.

No matter how many times I watch the film - and I have watched it a lot - it never fails to touch me. It makes me smile, it makes me laugh, it makes me think, it makes me cry. It is as fresh today as it was in 1946.

If I were allowed just one film to keep and watch again A Matter of Life and Death would be that film.

Enchanting, romantic, innovative, and funny. The vision of this extraordinary film is almost unparalleled, exceeding better known "death romances" such as Ghost. While we know intuitively that Peter and June will find ultimate happiness at the end of that long-long stairway, the joy is in the journey. The moral of the tale, of course, is timeless: love conquers all. But the struggle to achieve that victory is played in a celestial arena of sweeping vision and gripping grandeur. With more than 500 suitably clad extras portraying various ages and cultures, the directors' vision of heaven remains memorable six decades later, far into the CGI era.

Yet for all the cosmic scale, Powell and Pressburger knew an essential truth: the best story is told at the smallest level. The wonderfully, determinedly romantic aspect of "Stairway" is captured with ultimate simplicity: June's teardrop, preserved on a rose petal.

This film, like the story and the set itself, is one for the ages.

This movie has the most beautiful opening sequence ever made. I've seen this movie for the first time a week ago, since then every day I see the opening and every time I feel as thrilled as I felt the first time I heard David Niven uttering the immortal words from Sir Walter Raleigh's The Pilgrimage:

Give me my scallop-shell of quiet, My staff of faith to walk upon, My scrip of joy, immortal diet, My bottle of salvation, My gown of glory, hope's true gage; And thus I'll take my pilgrimage (…)

Do you know why it would be a truism to say Michael Powell's and Emeric Pressuburger's lives are thoroughly justified for having crafted such a wonderful opening? Because they had been already admitted in the Paradise of Poets long before they made this movie.

I imagine both of them facing trial during Doomsday and saying nonchalantly to an irate God: I beg your pardon, Sir. So, do You want to know what have we done during our lifetime? Well, well you'll see: We've written directed and produced: I know Where I'm Going, Colonel Blimp, Red Shoes… do you think that enough Sir? It is rather obvious that these two great artists had already fulfilled their duty with God, Nature the Muse or Whatever you may call It when they shot A Matter of Life and Death. The fact that other people's lives would be justified for their deeds could be not apparent to everybody, notwithstanding I feel my life would have a meaning had I never done anything else that to see this movie.

Of course old-timers will be tempted to say: They don't do movies like this one any more. They'll be partially mistaken; they didn't make movies like this in the past times either.

I've have already quoted Keats here, but I'll repeat his words: A thing of beauty is a joy forever.

A Matter of Life and Death, what can you really say that would properly do justice to the genius and beauty of this film. Powell and Pressburger's visual imagination knows no bounds, every frame is filled with fantastically bold compositions. The switches between the bold colours of "the real world" to the stark black and white of heaven is ingenious, showing us visually just how much more vibrant life is. The final court scene is also fantastic, as the judge and jury descend the stairway to heaven to hold court over Peter (David Niven)'s operation.

All of the performances are spot on (Roger Livesey being a standout), and the romantic energy of the film is beautiful, never has there been a more romantic film than this (if there has I haven't seen it). A Matter of Life and Death is all about the power of love and just how important life is. And Jack Cardiff's cinematography is reason enough to watch the film alone, the way he lights Kim Hunter's face makes her all the more beautiful, what a genius, he can make a simple things such as a game of table tennis look exciting. And the sound design is also impeccable; the way the sound mutes at vital points was a decision way ahead of its time

This is a true classic that can restore anyone's faith in cinema, under appreciated on its initial release and by today's audiences, but one of my all time favourites, which is why I give this film a 10/10, in a word - Beautiful.