Moustroll Good movie but grossly overrated

FuzzyTagz If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

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

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Brucey D Much has been written about this film by others and, in truth, I have little to add to it. All I can do is to succinctly point out that this film is remarkable for many reasons including the following;.*It was made in Britain at what was arguably one of the worst times in WWII.*Had Churchill had his way, this film would never have seen the light of day.*Whilst being implacably opposed to war and Nazism in particular, it strikes a balance that is not unsympathetic to anyone holding civilised values, underlining that the war being fought was as much as anything else in support of those values.* Many other film-makers would almost certainly have produced a one-dimensional propaganda film at this time; however P&P (remarkably) turned a cartoon drawing caricature into a complex, sympathetic character, in a many-layered, well-nuanced plot whose horizons extend further than the then-present conflict.* In turns this film examines how life can shape a character, love, loss, the nature of one's identity and values, what it is to be British, and what 'total war' means, amongst other things, all impeccably rendered onto film.* Although neither man rated it his best work, this film is arguably P&P's masterpiece; it is truly impressive on every level.This film was restored once in 1983. However it has been restored again in 2012 (at the behest of Martin Scorsese amongst others) and the results are simply stunning.If you have not seen this film before, see it. If you have not seen the 2012 restoration, see it. I am no great wordsmith by any means but if you are not yet convinced to see this film I suggest you read some of the other reviews here or perhaps Roger Ebert's. Without hesitation, it scores 10/10 with me. It gets 96% on Rotten Tomatoes; why the average score here on IMDb is no higher is a complete mystery to me.

elvircorhodzic People, standoffish cartoons turned into a small miracle. Very conservative, stubborn and persistent colonel at the same time is a great idealist and romantic. Of course, in a very strange way. Directors have made sure that the film is civilized to some extent ill. Taking into account what is really happening in the time of shooting the film I can not resist the impression that some scenes seem a parody. A conflict of generations conflict of opinions and military ideology.THE LIFE AND DEATH OF COLONEL BLIMP is thematically diverse movie. Forty years period observed through a strange code of honor, lonely romance and big friendship. This film does not celebrate civilized values. Simply, shows the other side, as certain kind of balance. It makes no sense to play by the rules, if you will end evil triumph. It makes no sense to play dirty, if you do not have such an opponent. Unfortunately, in both cases found the "hand".I only watch this movie as a war, a romantic comedy. I admire specific humor, great scenery and acting, ingenuity flashbacks of that period, and incredibly good line. Roger Livesey as Clive Candy is an excellent choice for the lead role. The transformation of a young and romantic idealist to the old and unpleasant babblers who is at the heart still young idealist and romantic. In addition to the obvious makeup and aging characterization of the hero is almost perfect. Anton Walbrook as Theo Kretschmar-Schuldorff is gratifying Prussian officer. His triumphant appearance at the end of the film has become the target of challenge. A good German who spit on their country!? I think that in the context of the film that view is justified. Deborah Kerr as Edith Hunter / Barbara Wynne / Angela "Johnny" Cannon, three ladies in one. Incredible readiness and skill, talent and beauty. I bowed to the floor.

avik-basu1889 My first experience of a Powell-Pressburger film was 'Black Narcissus'. There were certain elements in it that I admired, but overall it left me a bit underwhelmed. So 'The Life and Death of Colonel Blimp' was my second bite of the cherry and I was completely blown away. It is very loosely based on a cartoon character called Colonel Blimp by cartoonist David Low. This character in the cartoons represented the old and the outdated elements of English society. Blimp with his big moustache was arrogant, naive, pompous and out of touch with the rest of the world due to his reluctance to change and let go of his outdated ideals. Although there is no character called Blimp in the film, but the main character of Clive Candy is the one who is supposed to be the figurative Blimp in the story. When the film begins we see Candy with the Blimp-esque moustache in all his overbearing and obnoxious 'glory'. He verbally bashes a younger officer named Spud for showing initiative and doing something out of the book instead of sticking to the rules. But Powell and Pressburger subsequently over the course of the film show us the real man beneath the moustache and his life through flashbacks of significant phases of his past which involve his involvement in the Boer War, WW1 and then ending with the WW2.I read Roger Ebert's review for the film and I have to say that he was at his analytical best while reviewing the film. Although the rift between the young and the old is very quickly established in the film and the viewer will certainly find some lack of logic and prudence in the ideals upheld so strongly by Clive Candy and the old guard, but Ebert correctly states that Powell and Pressburger in the film are actually defending the old. They are doing it not by blaming the new, but by actually trying to understand the old which in this case is the character of Clive Candy. Powell and Pressburger took a cartoon character that was supposed to be mocked and actually treated him with respect and genuine sympathy. The humanism that richly ornaments every minute of this film is very Renoir-esque. This film certainly is a bit of a tribute to a fading era where gentleman ship, courtesy, kindness and chivalry were never eclipsed by ruthlessness. Candy belongs to the era where more time was spent in a round table conference negotiating the rules and the code of honour to be maintained in the battle than the battle itself. The politics in the film can be perceived to be a bit too sentimental and pro-British, but even then the sentimentality gets conveyed in most innocent and adorable manner. But there is one aspect of the film which makes me amazed that this was a film that was released in 1943. That aspect is the way Powell and Pressburger deals with the character of Theo Kretschmar-Schuldorff. By going against all the conventions of propaganda cinema of the time, they actually made Theo a likable, honorable German soldier who becomes the most loving friend of Candy.Another very important theme explored in the film is the change that takes place in a character with age. During flashbacks we see that Candy himself was also quite the hot-blooded young man who didn't hesitate to disobey the orders of his superiors when he felt necessary exactly like Spud. But with time he became the old man who stuck to the rules and had an undying belief in playing fair. Maybe Spud sees a reflection of his future self in Candy. The sight of the old Candy in the midst of the younger generation reminded me of that scene in 'Once Upon a Time in America' where the old, grey haired Noodles looks at the young teenagers enjoying themselves as they pass him by on the road in their car.Now let's come to the acting. Roger Livesey's performance in this film is one of the best performances that I have ever seen. This might seem to be a bit of a over-the-top comment, but I have no hesitation in making this statement. He is an absolute dynamite and yet very nuanced in every scene and plays Candy with the utmost confidence. We see him play the young, the middle aged and then the old Candy. He becomes the character and is believable in every scene. Deborah Kerr plays three different roles. I think these three characters were meant to show the changing roles of women in society with the passage of time. Kerr also like Livesey brings a lot of subtlety to distinguish each of her characters from the other. Anton Walbrook who plays Theo just exudes charm and you can't help but love him and love his friendship with Candy.Like 'Black Narcissus', the cinematography is again brilliant in vibrant Technicolor. Some of the camera movements which Powell used were beautiful and so ahead of its time. Pressburger's screenplay is humane and sympathetic and Powell's style of storytelling only complements and elevates the script to a level where dry British humour goes hand- in-hand seamlessly with rich emotions. I found myself teary eyed on a few occasions during the last few minutes of the film. This certainly is a humanistic masterpiece.

hylinski This film is pure magic. It fully deserves to be in any list of the Top films of all time. That it was made during the second world war yet treats its topic with objectivity, humour and humanity places it in the category of true art. The story is engrossing, the characters so real that I find that no time at all seems to have passed between the beginning and the end titles. Roger Livesay characterises the many faces of Colonel Wynn-Candy with immense panache and an authenticity which amazes me. The cast provides the perfect backdrop for "Blimp" to realise that his time has passed, and the rules he considered ran the world are no longer valid. He is one of the iconic characters in cinema history, in the same class as Rick Blaine, Inspector Clouseau and Charles Foster Kane. It is pleasing to see that no-one has had the effrontery to try and re-make this classic. Watch this film.