Review #975: 'Dunkirk' (1958)

Surprisingly, precious few films exist depicting the events of Operation Dynamo during World War II. The emergency evacuation of thousands of British, French and Belgian soldiers from the beaches of Dunkirk while the Nazis closed in around them was described as a "colossal military blunder" by Winston Churchill and could have ended the war there and then. However, the assistance of hundreds of civilians who sailed from the south of England in a small armada of speedboats, yachts and fishing boats to rescue their battered allies provided a united front in what was then dubbed the 'Phoney War' and an astonishing tale of bravery to boot.

Leslie Norman's Dunkirk does not shy away from the buffoonery of high command which led to Allied troops being pushed further and further back until they were surrounded from every angle, but also explores themes of heroism in the face of invasion. Telling two parallel stories, we witness the events leading up to Dunkirk from the front-line, where inexperienced corporal 'Tubby' Binns (John Mills) finds himself in suddenly in charge after the death of his superior and separated from the bulk of his company in hostile territory. From the Home Front, cynical journalist Charles Foreman (Bernard Lee) is attempting to snap his fellow countrymen out of their laid-back state to pay attention to a war that is creeping on their doorstep.

Charles is met by people who agree with his concerns, but also those who are blissfully unaware of his country's dyer situation. In particular, local businessman Holden (Richard Attenborough) is making himself a tidy profit from the Phoney War and laps up the propaganda played over the radio. Attenborough's coward is the film's most intriguing plot-line and certainly the most complex character on show. Although he has relatively little screen-time compared to Mills and Lee, its Holden's reaction to the horror on the beach which subsequently changes his entire outlook that lingers in the mind once the film is over.

Mills' loveable Tubby looks like the more conventional hero, wise-cracking and back-slapping his men, but as the situation worsens his ability to command is questioned as leaves one of his men to die and fails to inspire his troops to move when told. Mills gets the bulk of the screen-time, and while his journey to the beaches provide some technically impressive set-pieces, there's an unevenness to the juxtaposition of the intertwining tales when they really deserve equal billing. Tubby's escapades means that it takes a long time to get the evacuation, but when it does, the sights of hundreds of soldiers wading out into the ocean in the hope of rescue and the horror exploding around them still holds up today. It's a moving and beautifully filmed final half hour that is worth the price of admission alone.


Directed by: Leslie Norman
Starring: John Mills, Bernard Lee, Richard Attenborough, Robert Urquhart
Country: UK

Rating: ***

Tom Gillespie

Review #812: 'The Curse of Frankenstein' (1957)

26 years after Universal Studios and James Whale hit gold with both critics and audiences alike with their interpretation of Mary Shelley's classic novel Frankenstein, another production studio was about to reinvigorate the horror genre with a vastly different take on the same book. Hammer Studios seemed to know something no-one else did - that audiences had a thirst for blood. The critics may not have appreciated it at the time (though they certainly do now), but the paying audiences lapped up The Curse of Frankenstein's amped-up levels of gore and gothic atmosphere.

The film begins with Victor Frankenstein (Peter Cushing) in a jail cell awaiting his execution for an unknown crime. He calls for a priest who he tells his story to. Victor was only a child where he became a baron and inherited his family's estate, and employed his teacher, Paul Krempe (Robert Urquhart), to teach him everything there is to know about the science of anatomy. Years later, Victor and Paul manage to bring a puppy back to life, much to their delight. While Paul is thrilled with their achievement, Victor is unsatisfied and longs to create a human life of his own.

Anyone hoping for a faithful re-telling of Mary Shelley's novel will be sorely disappointed. Director Terence Fisher and writer Jimmy Sangster (director of Hammer's Fear in the Night (1972)) makes the film more about Frankenstein than his creation. While the novel focused more on the tragic nature of the Creature's creation and treatment, the film portrays Victor not only as a flawed and arguably misguided visionary, but a stone-cold murderer, pushing a scientific genius to his death in order to have his superior brain for his creation. The brain is damaged in an alteration between Victor and Paul, so the creature is of low intelligence anyway.

For all the 're-imaginings' of Frankenstein, this is certainly the best I've seen. The diversions from the source material make it a different experience entirely, and one simply to be enjoyed rather than to ponder it's deeper meanings. Cushing's performance is incredible, adding a gravitas to his character even when the movie dips into camp. Christopher Lee, playing the Creature and in his first of many appearances for Hammer, puts in an impressive physical performance and manages to invite sympathy with no dialogue at all. Hazel Court also appears as Victor's cousin Elizabeth, in what is little more than the obligatory female role. A fantastic kick-start to what would be one of the greatest movements in horror.


Directed by: Terence Fisher
Starring: Peter Cushing, Robert Urquhart, Hazel Court, Christopher Lee
Country: UK

Rating: ****

Tom Gillespie