the audience applauded

Don't listen to the negative reviews

Better Late Then Never

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Alec Guinness made quite a pearl or diamond necklace of some of the most delightful comedies ever made, starting with "The Last Holiday" down to "Our Man in Havana" in the 50s. Some of the others between are "The Lavender Hill Mob", "All at Sea", "Lady Killers", "The Man in the White Suit", "Horse's Mouth", and they are all top rate. This one, originally "The Card", is slightly different as he here makes a totally different character from his usual typical characters, as Machin actually is a very subtle trickster who uses his knack for manipulation to good ends no matter how dishonest his tricks are. The equally tricky Glynis Johns therefore suits him perfectly, they would seem the ideal couple for getting anywhere in life by their tricks, but she lacks his subtlety and commits the mistake of thinking she could fool him as well as anyone. By a very fortuitous twist of fortune, Wilfrid Hyde-White appears at the right moment to save them both from each other.It's wonderful story with many odd twists to it, the mother is the one admirable and constant character in this wayward maze of small town intrigue, and I agree with another reviewer that the ball scene is the highlight. It's a small story of small people in a small society, but the story, the film, the music and the players make it timeless.

Alec Guinness' reputation as a serious actor tends to overshadow the subtle but deftly comic early work he was involved in, even when the films themselves (especially his handful of Ealing classics) are highly-regarded. This was another fine (and reasonably popular) vehicle for him in which he plays a go-getter(!) who uses his wits – and the helping hand lent him by Fate – to rise the ranks in British society from a washer-woman's son to, ultimately, Mayor of his town. In this respect, the film reminded me of two similar efforts i.e. NOTHING BUT THE BEST (1964) and THE RISE AND RISE OF MICHAEL RIMMER (1970) – which I owned but had not yet checked out (and which I then promptly opted to include in my ongoing Christmas schedule); of course, thematically, it is not unlike Ealing's own KIND HEARTS AND CORONETS (1949; in which Guinness had memorably played eight murder victims)...but the approach here is altogether more genteel and nostalgic (even if there are a few undeniable belly-laughs along the way), thus lacking the pointed satirical barbs which distinguished the earlier (and later) films. Anyway, the star delivers an entirely disarming performance and the film – augmented by its charming period setting – proves a most delightful concoction. He is abetted besides by three splendid leading ladies in Glynis Johns (surprisingly playing haughty), Valerie Hobson (obviously aristocratic, her feathers apparently not even unruffled by a pratfall!) and Petula Clark (not yet the chart-topping singer and, tackling the role of a commoner, is naturally Guinness' eventual choice of partner). Foremost among the supporting cast, then, is Edward Chapman – later a stooge in many a Norman Wisdom comedy – as Guinness' disgruntled former employer, but several other familiar faces crop up throughout (Peter Copley, Michael Hordern, Wilfrid Hyde-White, Frank Pettingell, etc). For the record, this was the first of four appearances by the star in films directed by Neame (apart from two the latter had produced for David Lean); of these, the only one I have yet to watch is another comedy, THE HORSE'S MOUTH (1958), which I might as well get to now rather than later...

I first saw this film a number of years ago and had never forgotten it. I took the opportunity to watch it again recently and realised what a little masterpiece it is, based on a timeless premise of rags to riches. Each member of the cast is faultless and the direction is superb, Guiness shows what a consummate actor he was admirably supported by some of the fine character players of the time. Glynis Johns plays manipulation and seductiveness to perfection ably supported by Valerie Hobson and Petula Clark as the other central women working to the finely crafted screenplay. To me it ranks along with the finest Ealing comedies. The Card is an example of British film making at its best.

This terrific 1952 British black and white movie directed by Ronald Neame (with an inspired casting of a young Alec Guinness as Arnold Bennett's wonderful character, the upwardly-mobile Denry Machin), loses none of the story's magic and captures the flavour of the period (from about 1888 and onwards) and the Potteries (North Staffordshire, England) absolutely perfectly. The ballroom scene (among many others) is an utter delight.The beautiful Valerie Hobson as the "Countess of Chell" is enchanting. Glynis Johns as the frivolous and extravagant social-climbing dance instructress is equally lovely. Edward Chapman as Mr Duncalf is at his usual pompous best. A marvellous supporting cast puts in a stalwart performance and are all on top form, and the acting by all involved is superb (although Petula Clark is a little too reserved and somewhat bland), but after all that, the star of the show surely has to be Joey the Mule.I don't intend to give you the storyline as enough reviewers have done that already. Suffice it to say that of all the transferences of classic stories to the screen, this must be one of the best, and I defy anyone (young or old) who may watch it, not to enjoy it (even though it is in black and white), and unfortunately, even with colour and much improved modern techniques, marvellous movies like this just aren't made anymore.