George Carney Movies

Good Time Girl, directed by David MacDonald and based on a story by Arthur La Bern (It Always Rains On Sunday) starts off unpromisingly, as juvenile justice official Flora Robson tries to keep a would-be female felon on the straight-and-narrow, telling the cautionary tale of Gwen Rawlings (Jean Kent). A victim of an unhappy home and her own stupidity, Rawlings leaves home and, with help from her sleazy new neighbor Jimmy Rosso (Peter Glenville, the future director), gets a job as a hat-check girl at a club run by Max Vine (erbert Lom). But Jimmy's jealousy soon gets him fired, and leaves him aiming for revenge on Max and Gwen. Despite the best efforts of Michael Farrell (Dennis Price), the one truly decent man she's ever met, Jimmy achieves his goal and Gwen is sent to a reformatory. It is there that she's truly corrupted by being locked up with more seasoned juvenile (and not so juvenile) felons, who know how to game the system -- whem she escapes, she's a professional criminal, and, taking on a new alias, falls in with a pair of loose-living gents. She manages to commit a vehicular homicide, and then falls in with a pair of American military deserters (Bonar Colleano, Hugh McDermott) who aren't above committing pre-meditated murder. ~ Bruce Eder, All Movie Guide

This unsparing, brutal look at the British criminal underbelly stars Richard Attenborough as Pinkie Brown, a pock-marked gang leader. While leading his men in a racetrack robbery, Pinkie kills a man. He convinces pretty waitress Rose (Carol Marsh) to provide him with an alibi, promising to marry her in exchange. After the wedding, the sociopathic Pinkie conducts a slow and careful campaign to drive his young wife to suicide. A moody, well-acted film with a stunning performance by the 24-year-old Attenborough, Brighton Rock is notable for bringing a new vicious realism to British crime cinema. Adapted by Terrance Rattigan and Graham Greene, from Greene's novel, the screenplay is superlative. The grim realism and sordid subject matter of the film is striking, handled by twin filmmakers Roy and John Boulting, who use mood and dark, stark photography to convey an almost palpable sense of dread. The American distributor of Brighton Rock, smelling disaster with that ambivalent title, renamed the film Young Scarface, and while it was quite controversial in its day, the film can't quite recapture the impact it had upon its initial release. ~ Hal Erickson, All Movie Guide

Based on a novel by J. S. Fletcher, The Root of All Evil casts Phyllis Calvert as a grimly ambitious woman scorned. Jilted by wealthy Albert Grice (Hubert Gregg), farmer's daughter Jeckie Farnish (Calvert) vows to accumulate enough money so as to never again be dependent on any man's attentions. Suing Grice for breach of promise, Jeckie parlays her generous settlement into a sizeable fortune. She increases her riches by linking up with philandering mining-engineer Charles Mortimer (Michael Rennie). Though she and Mortimer accrue millions from oil wells, it simply isn't enough: the hard-hearted Jeckie has decided that she craves true romance after all. The moral of Root of All Evil is obvious from the first scene onward: it is up to Phyllis Calvert and her talented co-stars to wade through a sea of cliches and come up with something worth watching. ~ Hal Erickson, All Movie Guide

The British Woman to Woman was the third film version of the war-horse stage play by Michael Morton. Hollywood's Douglass Montgomery plays David, a Canadian officer attached to the British secret service. Unhappily married to "ice princess" socialite Sylvia (Adele Dixon), David throws himself wholeheartedly into his espionage activities. While on a life-and-death mission in Paris, he falls in love with cabaret dancer Nicolette (Joyce Howard). Forced to evacuate Paris when the Nazis march in, David is unaware that Nicolette is pregnant. Years later, David searches desperately for Nicolette and the child he never knew, unaware that both are living in London. Will a happy ending follow? Well? best to wait until the final fadeout to be sure. ~ Hal Erickson, All Movie Guide

Future Dr. Who star William Hartnell heads the cast of the 1949 sociopolitical melodrama The Agitator. Set in a British industrial town, the film stars Hartnell as idealistic union organizer Peter Pottinger. His value as an agitator is compromised when Peter falls heir to the very factory where he works. Now that he's "Capital," Peter finds that he hasn't a friend in the world: his old co-workers despise him for what he represents, while his new colleagues can't forget his previous radicalism. Perhaps to avoid movie-industry ramifications, Capital and Labor are treated with equal fairness in The Agitator. ~ Hal Erickson, All Movie Guide

While awaiting access to England's Technicolor cameras for their upcoming super-production Stairway to Heaven, the producer-director team of Michael Powell and Emeric Pressburger dashed off a delightful "personal" project, I Know Where I'm Going. Young middle-class Englishwoman Joan Webster (Wendy Hiller) is determined to have the finer things in life, and to that end she plans to marry Sir Robert Bellinger (Norman Shelley), a wealthy, middle-aged industrialist whom she does not love. En route to the Island of Mull, where her future husband resides, Joan is stranded in a colorful Scottish seacoast town. Inclement weather keeps her grounded for a week, during which time she falls in love with young, insouciant naval officer Torquil McNeil (Roger Livesey). Ignoring the dictates of her heart (not to mention common sense), Joan stubbornly insists upon heading out to sea towards her marriage of convenience, but the exigencies of Mother Nature finally convince her that her future resides on the Mainland. A winner all the way, I Know Where I'm Going is full of large and small delights, including a wonderful sense of regional detail and endearing, three-dimensional characterizations (even the mercenary heroine is a likeable character). The film is easily one of the best of the Powell-Pressburger films of the 1940s, and arguably the team's all-time best romantic drama. ~ Hal Erickson, All Movie Guide

Like the better-known (and more popular) A Canterbury Tale, Welcome Mr. Washington is a sometimes amusing, sometimes poignant dramatization of what happened when American troops "invaded" England during WW II. Dismissed as "overpaid, oversexed and over here," the Yanks face some hostility while trying to adjust to British manners and mores. But when a farming community finds itself dangerously short-handed at harvest time, the American GIs pitch in and help their British brethren in true "hands across the sea" fashion. Real-life American army lieutenant Donald Stewart is cast as the nominal romantic lead, his lack of professional polish all the more obvious in his scenes with the talented Barbara Mullen. The film is stolen by Peggy Cummins as a precocious teenager, some three years before Cummins was brought to Hollywood to star in Forever Amber (which, as it turned out, she didn't). ~ Hal Erickson, All Movie Guide

Adapted from the stage hit by J. B. Priestly, When We Are Married is a barbed satire of smug British conservatism. Set in turn-of-the-century Yorkshire, the story concerns three middle-aged married couples, who tend to look askance towards anyone who does not come up to their high moral and religious standards. These pecksniffs are especially critical towards those who advocate a break from the repressive sexual taboos of the era. Imagine their dismay, then, when all three couples discover that they're not legally married. Their efforts to hide this fact, and their eventual comeuppance, provides several hearty laughs. When We Are Married remains a favorite of the British repertory circuit, due to its large number of colorful and well-rounded characters. ~ Hal Erickson, All Movie Guide

Robert Ardrey's theatrical semi-fantasy Thunder Rock was transformed in 1944 into one of the most successful British films of the year. Michael Redgrave stars as a disillusioned war correspondent, David Charleston, who shuts himself away from society by taking up residence in a Lake Michigan lighthouse. During one particularly stormy evening, Charleston's solitude is invaded by several strangers, all dressed in 19th century costume. It develops that these strangers are the ghosts of immigrants whose ship went down some 100 years earlier. Through their optimistic example, Charleston renews his own spirits and gives the world a second chance. When Thunder Rock threatens to get too ethereal for its own good, it is brought back to earth by the sardonic presence of James Mason, playing a live visitor to the lighthouse who spars both verbally and physically with the self-pitying Charleston. ~ Hal Erickson, All Movie Guide

Also known as The Avengers, the British The Day Will Dawn is set in Norway at the outbreak of WW2. British foreign correspondent Lockwood (Ralph Richardson), forced out of Norway by the Nazi invasion, returns to the occupied Scandanavian country at the request of the War Office. Lockwood's assignment is to guide the RAF to a heavily camouflaged German U-boat base for sabotage purposes. With the help of patriotic Norwegian seaman Alstad (Finlay Currie), Lockwood completes his mission, only to be arrested as a spy and sentenced to be shot. The final portions of the film detail our hero's attempt to escape back to England with Alstad's daughter Kari (Deborah Kerr), with whom he has fallen in love. The intricately crafted screenplay is attributed to three of Britain's finest scriveners, Terence Rattigan, Anatole de Grunewald and Patrick Kirwen-and one suspects that there were even more talented hands involved in this thrill-packed wartime adevnture. ~ Hal Erickson, All Movie Guide

Few morale-boosting wartime films have retained their power and entertainment value as emphatically as Noël Coward's In Which We Serve. To witness Coward's sober, no-nonsense direction (in collaboration with his co-director/editor, David Lean) and to watch his straightforward portrayal of navy captain Kinross, one would never suspect that he'd built his theatrical reputation upon sophisticated drawing-room comedies and brittle, witty song lyrics. The real star of In Which We Serve is the British destroyer Torrin. Torpedoed in battle, the Torrin miraculously survives, and is brought back to English shores to be repaired. The paint is barely dry and the nuts and bolts barely in place before the Torrin is pressed into duty during the Dunkirk evacuation. The noble vessel is finally sunk after being dive-bombed in Crete, but many of the crew members survive. As they cling to the wreckage awaiting rescue, Coward and his men flash back to their homes and loved ones, and, in so doing, recall anew just why they're fighting and for whom they're fighting. Next to Coward, the single most important of the film's characters is Shorty Blake, played by John Mills. (Trivia note: Mills' infant daughter Juliet Mills appears as Shorty's baby.) Even so, the emphasis in the film is on teamwork; here as elsewhere, there can be no stars in wartime. For many years, the only prints available to television were from the bowdlerized American version, which crudely cut out all "hells" and "damns." Fortunately, this eviscerated American release has since been shelved in favor of the full, glorious 115-minute version. ~ Hal Erickson, All Movie Guide

Filmed in the North Country of England, this is a film noir set in the 1930s as a family struggles with poverty and unemployment. Depressing and realistic, it portrays the lengths to which a family can go in order to survive., though there is some humor interlaced to keep the bleakness under control. The beautiful, sepia-tinted photography enhances the portrayals, which are excellent. ~ Tana Hobart, All Movie Guide

In this drama, an amiable steel worker suddenly changes when he becomes a foreman. Suddenly Mr. Nice Guy becomes Mr. Hard Nose and he mercilessly pushes his men to work harder and faster. His callous attitude comes home with him and his wife, too suffers. Trouble ensues when the foreman pushes the men so hard that a man dies. The other workers revolt, and at home, his wife leaves. The foreman turns to his friend, a preacher, for guidance and begins to see where he went wrong. ~ Sandra Brennan, All Movie Guide