Wordiezett So much average

Cleveronix A different way of telling a story

AnhartLinkin This story has more twists and turns than a second-rate soap opera.

Caryl It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

SimonJack "A Town Like Alice" is a great movie. It's one of a very few films about World War II in the "rest" of the Pacific – outside the scope of the battle and combat areas that are most known and portrayed in films. Yet it takes place in an area of the Orient that also was greatly scourged by the Japanese. And it covers the plight of foreign civilians – in this case, English, who were caught, imprisoned or who otherwise suffered under the Japanese. It also has Australian, British and other prisoners of war in Malaysia. For all of these reasons, this film has historical value as well. Others have commented on the plot, so I won't elaborate except to note the subtle love story that is intricately woven into the movie. It is a rare and beautiful part of the whole film. It's nothing like the usual romances one sees in war movies – though there's nothing wrong with most of those. But, in "A Town Like Alice," it is such a subtle relationship that most viewers won't recognize that there is a budding love story in the first or second encounter of the two stars. Of course, neither do the two people that Peter Finch and Virginia McKenna play. And that adds to the warmth, the beauty and reality of it. But once realized, it's seen as a story of true love, deeply felt, and held in the very souls of the stars. This film came out just 11 years after the end of the war, and it was apparently considered too controversial by some. The film was pulled from the Cannes Film Festival that year, because it might offend the Japanese. I wonder if that didn't also affect the voting for the Academy Awards in the U.S. It received no nominations for an Oscar. Admittedly, the competition was very tough, with a number of very good films that year. Ironically, another film that had a lot about Japanese Imperialism took the largest number of Oscars in 1957 — "The Bridge on the River Kwai" won seven Oscars. It was most deserving, as were the individual Oscars, including Alec Guinness as best actor. "A Town Like Alice" did get due recognition in 1957, however, when it won two of five nominations for BAFTA awards (British Academy of Film and Television Arts). And those were for best actor and actress to Finch and McKenna.As for the Cannes Film Festival? They blew it. Hollywood and the other venues of film entertainment often take pride on being open, honest and daring in showing true art and history. Often times, it may be controversial with one group or another. So, they show their weakness and faults, when they cower from showing some films that are based on truths because of the risk of possible criticism or opposition. Thankfully, we still have writers and producers and other film promoters who are willing to risk the offense of some, for the sake of showing and telling the truth. They would rather not offend those who endured the sufferings portrayed. My online research found an interesting article about the Cannes debacle. It appeared in the May 23, 1956, edition of Australia Women's Weekly. Remember – Finch was a London-born Aussie. Here are some of the details reported in that article: "The British film, 'A Town Like Alice,' withdrawn from the festival because it might have offended the Japanese, was warmly applauded by the Japanese after it had been shown privately during the festival. Japanese stars who met Peter Finch at a cocktail party told him how they wept during the screening of 'A Town Like Alice.' Although it was withdrawn from the festival, the Rank Organization arranged a private showing at a theatre for a specially invited audience."The next day, the Japanese Ambassador invited Finch to the Japanese reception at their hotel. "There, a line of Japanese producers and actors bowed, all smiles to see him. Relations have never been more cordial. Both Peter Finch and director Jack Lee are now claiming that the Japanese never registered a protest against the film being shown. They believe the festival committee decided this itself rather than risk trouble."

Neil Doyle Well acted, but tediously grim war drama without relief of any kind. Very reminiscent of an earlier prison camp film, THREE CAME HOME, starring Claudette Colbert in 1949. The latter film at least was better paced and had even more human interest value in its telling.It takes over an hour before the relationship between Virginia McKenna and Peter Finch becomes more of a focal point. Before that, the prison camp scenes are relentlessly harsh and ponderous while showing the indifference of the Japanese in Malaya to the plight of women who are forced to march too many miles in an effort to find a suitable prison camp. The hardships become an endurance of patience for the viewer too. The only upbeat moments come during the last fifteen minutes. The story becomes more engrossing midway as Peter Finch assumes more of a role, but it's not an easy film to watch. Much of the strong drama is undercut by failure to make the most of crucial scenes and practically no development of their Japanese tormentors. By comparison, THREE CAME HOME had much stronger emotional ingredients and conflicts to deal with in the relationship between the main character (an American woman) and the Japanese commander, an intelligent man who was in constant confrontations with the woman over inhumane treatment and cultural differences.

angelofvic I thought this was an Australian film, about Australians, in Australia. Imagine my horror when it was instead about horrific treatment of Allied prisoners by the Japanese in Malaysia during WWII.The film is relentless -- brutal even -- especially as it involved women and children for the bulk of the film. It never seems to end ... until the very end, when the godawful war ends and things get a bit better -- OK, quite a bit better.Virginia McKenna gives a lovely, wonderful performance as the protagonist, and quite holds the film together. Also featuring Peter Finch, and a number of other fine performances, including the wonderful Japanese sergeant in charge of the women and children.Worth a watch. Perhaps it's best summarized as being a good tale of survival.However, the film has two flaws: One is, that the basic plot point, which the film spends 80% of its time on, never happened, even though the film announces that it is fact-based in the opening credits. The plot line the film relies on was a complete misapprehension by author Nevil Shute.The second problem the film has is that it only covers half of the book -- the horrific, unrealistic half.All in all, I'd say that if you want a realistic portrayal of Allied prisoners of war in Malaysia by the Japenese during WWII, watch King Rat (1965), a much better film.

screenman I suppose that it should be confessed at the outset that I had the hots for Ms McEnna in her youth. Nevertheless, I still think that this is an excellent movie of the 1950's war genre.Ginny and Peter Finch provide typically understated performances that are reminiscent of 'Ice Cold In Alex' and 'The Cruel Sea'. Solid, sterling, stiff-upper-lip-stuff that has no place in the spineless, simpering, metro-sexual third millennium.I have never read Shute's novel, so I cannot comment on what liberties have been taken, but viewed without prejudice as a movie outlining Japanese brutality and human endurance it is still a well-realised piece of work. Everyone gives a thoroughly believable turn, both Caucasian and Oriental alike, as Ms McEnna's character concludes 'you can't really hate anyone' in the end. Though the Japanese - like their Nazi counterparts - did their very best to merit it.Ms McKenna leads a group of unwanted western women and children, for whom no Japanese officer wants responsibility. So; they get shunted from one place to another, on foot, inadequately fed, and without medical assistance. Inevitably; they begin dying. Finch plays a captured Aussie running trucks for the Japanese. Filmed in black-&-white, in Britain and on location, it offers a very believable turn upon the miasmic swamps, crippling heat, humidity and deluging rain.Of course, it's a love story too. And here again Ginny and Peter play their parts to perfection. I defy any true romantic not to be rendered lachrymose by her realisation of his survival and their final meeting at the end. Her hasty, last-minute application of cosmetics is particularly touching and well-observed. As if he'd care a hoot one way or the other.It's a great old feel-good movie for the austerity generation. I give it nine stars and good luck to 'em all I say.