Amazon.com: Customer Reviews: The Life and Death of Colonel Blimp (The Criterion Collection)
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on October 28, 2002
How wonderful it is to have this unique movie beautifully restored to its original length and scene order by the British Film Institute.
Until about ten years ago, I had never seen this film. I had never rented the cut, reconfigured tape, because I didn't think I'd like the film (in any form). But the L.A. County Museum of Art had an Archers' retrospective several years ago that included the BFI restoration print. Despite many of there pictures being among my favorites, I still thought I was in for a hoary WW II propaganda film. I could walk if I didn't like it.
Was I ever wrong. I came out considering it among The Archers best works. which in my book, means one of the finest films ever.
"The Life and Death of Colonel Blimp," in the original version, is a brilliant mix of WW II propaganda, an often whimisical loving satire of the system. It is ultimately one of the most winning anti-war films ever. In a different way, as good as "Grand Illusion."
This low-key epic begins with the Boer War, when Blimp is a young (too) gung-ho officer to the time the film was made--mid-war 1943. The cast is superb. Roger Livesey gives one of the best performances imaginable. Deborah Kerr (18) at the time, gives a tour-de-force performance as the three different women Blimp falls for in the 40-year span of the film. Anton Walbrook Is so brilliant in this film. This man I am now convinced was one of the greatest actors of the 20th Century. His controversial character is a German officer Blimp befriends in the Boer War and they become life-time friends, with Blimp vouching for him being permitted to stay in England during WW II. Walbrook's scene explaining why he has left Germany is as great, if not greater than his curtain speech in "Red Shoes." Most other actors would have turned this into maudlin sentimentality. Walbrook instead gave me a giant lump in my throat. I don't lump easily.
If you've never seen the complete, uncut and untampered with film and are Archers devotee, this is the version for you.
The extras are uniformly fine. The commentary track with Martin Scorsesse and director Michael Powell, from a recording he made on first viewing the restored film, is sharp and perceptive. He sounds very old and can be hard to understand because of it, but it is worth the extra effort to hear him comment on one of his personal favorites.
There is also an excellent half-hour or so documentary, that includes Emeric Pressburger's grandson, that helps explain why and how the film was tampered with and almost never seen as a result of Prime Minister Winston Churchill trying to ban it. No luck in England. J. Arthur Rank released it in his English theatres and advertised "See The Banned Film." And it was a huge hit. The "banned" got the initial audiences in, word-of-mouth made it the movie too see. Winnie also failed in his attempts to stop exportation to other countries.
One of the most intelligent, witty,serious, breathtakingingly beautiful Technicolor films ever released.
Get this Criterion treasure now. It also includes several Colonel Blimp "original" editorial cartoons, by Blimp creator David Low. Some are timely today and could run with the names changed to suit today's political and military madness. The editorial cartoons were a revelation to me.
Archer Fans, order now and have a really complete collection of these unique gems.
The chap from England, below, is absolutey, right.
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on July 31, 2002
This is the best film by the best chroniclers of english life. I put this review on the American site because I feel the need to evangelise! Emeric Pressburger was an Hungarian refugee, and put much of his experience into the mouth of Theo, the sympathetic German character (in 1943! No wonder Churchill wanted it banned without seeing it). The film has three sections, set in 1902, 1918 and ww2. It shows the friendship between the title character, Clive Wynne Candy, and Theo Kretchsmar-Shuldorf. It's also a love story, with Deborah Kerr as three identical looking women. Most of all it's a requiem for a lost golden age, and a call to arms to defeat Nazism. The best set pieces are given to Theo (Anton Walbrook) a German refugee actor, emphasising that this is not a conflict between two equal and honourable countries, but between good and between evil, and this time, if good loses, there is no return match.This propaganda is 60 years old, but every time I watch it by the end I'm ready to sign up.
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on October 27, 2002
This and "A Matter of Life and Death" are Powell & Presberger's masterpieces, before they descended into the schmalz of "The Red Shoes". The tale of the essentially decent British and German gentlemen, played by Roger Livesey and Anton Walbrook respectively, rapidly becoming dinosaurs in the changing Europe between the Boer War and the Blitz, yet clinging to their values despite being kicked in the face by the brutalisation of Germany and by the consequent brutalisation of a Britain attempting to survive against barbarism. Their friendship begins from the mutual respect engendered by a duel fought reluctantly for the honour of their respective traditions at the time of the Boer War. During convalescence they vie for the hand of Deborah Kerr, turning up in the first of 3 roles. Livesey's shyness leaves Walbrook holding the field. Nearly 20 years pass until they meet again, at a POW camp in Britain. Livesey's essential naivete rides roughshod over the wartime enmity, but Walbrook's response is ambivalent, and the reunion is short-lived and bittersweet. Livesey marries Deborah Kerr's reincarnation as a nurse, because of a resemlance to his first love. A further 20 years pass. Livesey, widowed, is asked to act as sponsor for Walbrook, now exiled from Germany, also widowed and estranged from his Nazi children. Together they come to terms with their sidelining in a world of younger men with few of the old values. Deborah Kerr turns up for the third time as Livesey's driver as he moves from army officer to Home Guard organiser,refusing to be pushed out of the fight. In appearance Livesey's character assumes the appearaqnce of David Low's cartoon Colonel Blimp, but underneath he is more rounded; decent,generous to and loyal to friends, slow to denegrate his foes and totally patriotic, but finally nobody's fool. John Laurie appears in a delicious cameo as Livesey's batman/manservant, crusty but loyal. His boss may occasionally infuriate and perlex, but Laurie recognises the basic decency, as, finally, all do who come into contact with him. It may be propaganda, but it is still magnificent.
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on March 12, 2003
I found "The Life and Death of Colonel Blimp" to be a haunting story, rich in story and superbly acted. I found the film to be a very private experience - one that you will be thinking about for a long time.
I really can't add anything to the comments made before other than to say that this is the type of film that makes Criterion a special mark. I would question many of their choices, films are available in other formats and of questionable importance (e.g. "Armageddon", "The Royal Tennanbaums" and "The Rock"). "The Life and Death of Colonel Blimp" probably would have been lost forever (or show up as a $...DVD on a "Bargains" rack) without the work put in by Criterion and the "legitimacy" conferred on it by being recognized by the brand.
myke
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on May 13, 2006
I first saw this film on Bravo (before they turned into a dumbed down reality network). The film, at the time, wasn't out on any home video format in its uncut version. Luckily, Bravo showed the original, 163 minute version. It was one of the most profound, humane, and intelligent films I have ever seen. Everything in this film works. Roger Livesy gives one of the greatest performances in the history of cinema. He plays Clive Candy from young man to elderly gentleman so convincingly. Anton Walbrook plays Candy's German friend is such depth and subtlety he makes you feel for all humanity. Winston Churchill attempted to ban the film in England (it was 1943), but luckily it was unsucessful. The film was a big hit in England. When it reached the states, it was cut by 70 minutes, and sometimes shown in black and white. Luckily, now the film is available only in the uncut verison. The commentary track by Michael Powell was recorded for an early laserdisc edition of this film. It's a commentary track worth listening to. Everyone nowadays does commentary (still waiting for a key grip to do one), but doesn't really have anything interesting to say. This is an exception. This is a magnficient epic film, one worth watching over and over again. It's typical of Powell and Pressburger films: visually spectaular, literate, humane, and brilliant.
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on September 12, 2005
The Life and Death of Colonel Blimp is one of the finest films ever made, period. Michael Powell, a top director (49th Parallel) is at his finest as he masterfully recounts the tale of General Candy, an elderly British officer, in 1943. We see the life of a just-wonderful human being, heroic and dashing. As he evolves from a trim, swaggering youth of adventure to a stout and stoic old age, he never forgets his friends and never loses his faith in morality and justice, despite the travails of combat and personal loss.

Roger Livesy ('I Know Where I'm Going') is absolutely endearing as the lead and Deborah Kerr does a magnificent job in a triple-role! Anton Wallbrook is touching and credible as a German Officer befriended by Candy.

Lovingly restored to its original length and color magnificence, this film is touching and credible as it shows the human side of war without being preachy. There are many fine small performances and some surprising plot twists so that, despite its length, Blimp keeps viewers engaged.

By all means, a fine addition to any collection!
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They were the dynamic duo of cinema in the 1940′s. Michael Powell and Emeric Pressburger, men who would be known for films such as "49th Parallel", "A Matter of Life and Death" and masterpieces such as "Black Narcissus", "The Red Shoes" and "The Tales of Hoffman".

Where many films by Powell and Pressburger were enjoyed by cinema fans, their 1943 film, "The Life and Death of Colonel Blimp" was a film that was heavily criticized for its sympathetic presentation to a German officer during World War II time.

While Powell and Pressburger had featured German characters in films such as "The Spy is Black" and "49th Parallel", the film was a source of controversy as E.W. and M.M. Robson of the Sidneyan Society called the film, "A highly elaborate, flashy, flabby and costly film, the most disgraceful production that has ever emanated from a British film studio".

While the New York Times called the film "as unmistakable a British product as Yorkshire pudding and, like the latter, it has a delectable savor all its own".

But the idea of the film was born from a scene of the film "One of Our Aircraft is Missing" in which an elderly member of the crew tells the younger one, "You don't know what it's like to be old". And when filmmaker (then editor) David Lean suggested it to Michael Powell, the premise of the conversation was worthy to be made into a film.

But like many films that were either controversial or not big at the box office, Powell and Pressburger's "The Life Death of Colonel Blimp" was a film that became highly successful during its re-release 40-years later and since the '80s, the film has since received critical acclaim and is considered as a masterpiece of British cinema.

VIDEO & AUDIO:

"The Life and Death of Colonel Blimp" is featured in color (1:37:1 aspect ratio) and is presented in monaural. It's important to note that if you want the best picture and audio quality for this film, the Blu-ray release is the way to go. As for this 2013 DVD release, what people can expect in differences between this version and the older 2002 DVD release is better picture quality and more special features.

For one, the restoration for the film that was conducted in 2012 features better color and the blurring that was evident on the older release is no longer a problem. The picture quality is much clearer, much better clarity. I know the Blu-ray is the best version of this film right now, but for those who are still looking towards the DVD release, you should be happy to know that colors are robust, picture quality is literally pristine and no signs of damages, scratches, specks or debris.

Even the soundtrack has no signs of hiss, clicks or pops. The restoration of audio is fantastic!

According to the Criterion Collection, The digital master presented here was made from the Film Foundation's 2012 restoration. For the restoration, the original 35 mm three-strip Technicolor negatives were scanned at 4K resolution on an Imagica wetgate scanner at Point360 in Los Angeles.

The soundtrack was digitally restored from the original monaural optical soundtrack by Audio mechanics in Burbank, California.

SPECIAL FEATURES:

"The Life and Death of Colonel Blimp - The Criterion Collection #173″ comes with the following special features:

Audio Commentary - Featuring audio commentary by director Michael Powell and filmmaker Martin Scorsese.
Introduction by Martin Scorsese - (13:50) An introduction to "The Life and Death of Colonel Blimp" by Martin Scorsese.
A Profile of "The Life and Death of Colonel Blimp" - (24:05) A short documentary on the making of "The Life and Death of Colonel Blimp" created for Carlton International in London in 2000. Featuring interviews with film historian Ian Christie, filmmaker and Emeric Pressburger biographer Kevin MacDonald and actor Stephen Fry.
Restoration Demonstration - (4:50) A major restoration of "The Life and Death of Colonel Blimp" supervised by the Academy Film Archive in Hollywood. Hosted by Martin Scorsese.
Optimism and Sheer Will - (29:12) An interview with editor Thelma Schoonmaker Powell in 2012. Powell discusses the career of her late husband, Michael Powell and his partnership with Emeric Pressburger.
Stills Gallery - Featuring the theatrical trailer and the re-release trailer for "Following". Using your remote or keyboard, you can navigate the sequence.
David Low's Colonel Blimp - Powell and Pressburger's "The Life and death of Colonel Blimp" is loosely based on the cartoon character Colonel Blimp, who was created by the political cartoonist, caricaturist and illustrator David Low. Featuring two galleries: David Low and Colonel Blimp and Cartoons. Using your remote or keyboard, you can navigate the sequence.

EXTRAS:

"The Life and Death of Colonel Blimp - The Criterion Collection #173″ comes with a 28-page booklet with the following essay "The Life and Death and Life of Colonel Blimp" by Molly Haskell.

JUDGMENT CALL:

The reason why "The Life and Death of Colonel Blimp" has become a part of my life, is it is a film I can reflect on every ten years and to know how the character of Clive Kandy really feels.

The last time I have watched this film was my 2002 Criterion Collection DVD and at the time, I saw the film as a Powell and Pressburger masterpiece on storytelling, cinematography and wonderful acting. Classic British cinema that was no doubt ahead of its time.

But here we are in 2013, where we have a superior version of "The Life and Death of Colonel Blimp" on Blu-ray and DVD, a new release with more special features and picture and audio quality that surpasses the 2002 DVD release by such a longer margin. There is no doubt that the film is the best version that is available at this moment but probably will be for quite a long time.

But I have watched this film now, five times in a matter of three days. One probably to be in awe of how magnificent the film looks after its 2012 restoration but the other times, it was more of a realization that I am now at an age where I understand Clive Kandy.

Younger people have no idea what it is to be old, which is logical. I am only 40 and I have seen the world change around me, from its use and dependance towards technology, physical changes that people go through as they grow older but seeing moments of your life which one considered a hit at the moment, becomes old school, classic rock, ancient pop culture to seeing people you once hung around with, growing older, balding and unfortunately, knowing were not fortunate to make it to 40. And I really don't know where I will be at the age of 50 or if I will be here at all.

But it's the life's regrets that Clive Kandy had lived his life. He may be known for taking action on the battlefield, but when it came to love, he was not sure what he was feeling towards the woman that was always aside him. Not knowing that the woman who was there, he let go to marry another and a regret that will affect him forever.

"The Life and Death of Colonel Blimp" is a film that signifies loss, regret but also realization. Fascinating is the fact that throughout his years after he met, loved and loss Edith to his good friend Theo Kretschmar-Schuldorff, he has been a man who has lived regrets but also found women who bare close semblance to the woman he loved. Clive Kandy does a magnificent job of playing the various years of Clive Kandy, as with how Deborah Kerr was able to do a wonderful job of playing three women, of different timelines, but yet look similar.

As Clive Kandy is a man of regret, Anton Walbrook's role as Theo Kretschmar-Schuldorff is interesting because he was a German, a kind-hearted German who develops a long friendship with Clive Kandy but also a man who has regrets and wonders if he took his wife Edith's advice to move away from Germany when it was changing into a place where people accepted Nazi ideals and unfortunately, estranged with his sons because he did not follow those ideals.

While the film was full of humor, you have to respect Powell and Pressburger for creating a film like this during World War II. It was audacious but yet skillfuly written, to show that not all Germans were evil, during a time when Germany was despised and people thought that the country represented evil. But that was an effect during war time. A time where countries were dedicated in creating their own propaganda, these two filmmakers stood behind their film and while controversial and even drew the ire of critics and politicians, many decades after the second World War, many feel that "The Life and Death of Colonel Blimp" is a true masterpiece.

Of course, Powell and Pressburger had many masterpieces and each with their own charm. But "The Life and Death of Colonel Blimp" will be known for being the one film that was able to rile up an audience and even Winston Churchill himself.

As for the 2013 Criterion Collection DVD release, assuming you have no need for the superior Blu-ray version, the DVD still looks much better than its 2002 counterpart and features newer special features. Not only does this film look pristine, it's testament to the people who painstakingly restored this film. Better colors, better deal, just better picture and audio quality overall, this is a magnificent DVD release of the British cinema classic.

Overall, when it comes to British cinema, Powell and Pressburger films should never be passed on. And "The Life and Death of Colonel Blimp" is a masterpiece that should be enjoyed multiple times in one's life time and as you grow older, realizing how much you can sympathize with Clive Kandy. A film that is beautifully shot, wonderfully written and just looks and sounds fantastic with the new restoration, "The Life and Death of Colonel Blimp" is one release that cineaste must have in their collection. A must buy! A must own Criterion Collection release! Highly recommended!
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on April 30, 2009
This amazing saga--even more amazing, considering that it was filmed during World War II in England, is a tantalizing tale of a man's whole life--from youth to old age--and his loves, all of whom turn out to be played by the marvelous Deborah Kerr. The restoration is up to Criterion's high standards and the Technicolor is delicious. For fun and a look into our past, watch this movie.
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on July 13, 2014
THE LIFE AND DEATH OF COLONEL BLIMP [1943] [The Criterion Collection Special Edition] [Blu-ray] A Thrilling Lifetime of Courage and Love . . . In Triumphant Technicolor!

Considered by many to be the finest British film ever made, The Life and Death of Colonel Blimp, by Michael Powell and Emeric Pressburger, is a stirring masterpiece like no other. Roger Livesey dynamically embodies outmoded English militarism as the indelible General Clive Candy, who barely survives four decades of tumultuous British history, 1902 to 1942, only to see the world change irrevocably before his eyes. Anton Walbrook and Deborah Kerr provide unforgettable support, he as a German enemy turned lifelong friend of General Clive Candy's and she as young women of three consecutive generations and a socially committed governess, a sweet-souled war nurse, and a modern-thinking army driver who inspire him. ‘Colonel Blimp’ is both moving and slyly satirical, an incomparable film about war, love, aging, and obsolescence, shot in gorgeous Technicolor.

FILM FACT: Winston Churchill, never gave up in his ban, especially refusing to let `The Life and Death of Colonel Blimp' be exported to other countries until two years after the war ended, at which point it was only shown in a highly edited form. Audiences in the U.S.A. didn't see the film as Michael Powell intended it to be seen until some 40 years later. By then, of course, Winston Churchill had passed away, although he may have made one or two rotations in his grave upon Colonel Blimp's glorious reception by the critics. Making their second appearance in ‘The Life and Death of Colonel Blimp’ were director Michael Powell's golden cocker spaniels, Erik and Spangle, who had previously appeared in ‘Contraband’ [1940], and went on to be seen in the Michael Powell and Emeric Pressburger films ‘I Know Where I'm Going!’ [1945] and ‘A Matter of Life and Death’ [USA Title: Stairway to Heaven, 1946].

Cast: Roger Livesey, Deborah Kerr, Anton Walbrook, Ursula Jeans, James McKechnie, David Hutcheson, Frith Banbury, Muriel Aked, John Laurie, Neville Mapp, Vincent Holman, Spencer Trevor, Roland Culver, James Knight, Dennis Arundell, David Ward, Valentine Dyall, A. E. Matthews, Carl Jaffe, Albert Lieven, Eric Maturin, Robert Harris, Arthur Wontner, Theodore Zichy, Jane Millican, Reginald Tate, Captain W. Barrett, Corporal Thomas Palmer, Yvonne Andre, Marjorie Gresley, Felix Aylmer, Helen Debroy, Norman Pierce, Harry Welchman and Edward Cooper (BBC Official)

Directors: Michael Powell and Emeric Pressburger

Producers: Michael Powell and Emeric Pressburger

Screenplay: Michael Powell and Emeric Pressburger

Composer: Allan Gray

Cinematography: Georges Périnal

Video Resolution: 1080p [Technicolor]

Aspect Ratio: 1.37:1

Audio: English: 1.0 LPCM Mono Audio and 2.0 Dolby Digital Audio

Subtitles: English SDH

Running Time: 163 minutes

Number of discs: 1

Region: Region A/1

Studio: The Criterion Collection

Andrew's Blu-ray Review: British filmmaker Michael Powell is probably best known in the United States for directing the cherished ballet melodrama, ‘The Red Shoes’ [1948], a picture that many consider to be his greatest work. But Americans shouldn't be too surprised that Michael Powell and his producing partner, Emeric Pressburger. Their other masterpiece, ‘The Life and Death of Colonel Blimp’ [1943], was the subject of considerable scorn in England when it was first released, even though British were the only viewers who seemed truly capable of grasping its stiff-upper-lip form of satire.

As is so often the case with a Michael Powell and Emeric Pressburger film, ‘The Life and Death of Colonel Blimp’ boasts stellar production values. Michael Powell shot the picture in glorious Technicolor, a genuine rarity during the war years, since Technicolor film stock was so hard to come by. Although Colonel Blimp features a terrific cast, cinematographer Georges Périnal's vibrant Technicolor imagery adds greatly to the picture's overall effectiveness. He was a hugely talented visual stylist.

Set over a period of several years, ‘The Life and Death of Colonel Blimp’ follows the exploits of a British Army officer named General Clive Candy [Roger Livesey]. In a manner that's somewhat reminiscent of ‘Citizen Kane’ [1941], Michael Powell jumps around in the narrative as he examines General Clive Candy's often dismayingly dignified approach to both war and romance. General Clive Candy ages from a young participant in the Boer War into a conservative member of the Old Guard, all while pining for his one true love [Deborah Kerr, portraying three different characters]. Along the way, Michael Powell also traces General Clive Candy's ongoing relationship with a Prussian military officer Anton Walbrook.

Those who are young, eventually become old. It's an unshakeable inevitability of life, and it's rarely a painless process. Forced to watch the world grow and evolve around us, some choose to embrace the changing tides; while others instead hold firm to the past, stubbornly maintaining faded principles in the face of ambiguous progress. But even the most proud and obstinate of personalities can't fight off the looming shadow of approaching obsolescence forever, or can they? Those who are young eventually become old. It's an unshakeable inevitability of life, and it's rarely a painless process. Forced to watch the world grow and evolve around us, some choose to embrace the changing tides; while others instead hold firm to the past, stubbornly maintaining faded principles in the face of ambiguous progress. But even the most proud and obstinate of personalities can't fight off the looming shadow of approaching obsolescence forever, or can they? From the celebrated cinematic duo of Michael Powell and Emeric Pressburger, 'The Life and Death of Colonel Blimp' presents an epic story fuelled by high drama, tender romance, playful satire, and the bittersweet passage of time. A genuine masterpiece of filmmaking, the picture holds a secure place among the medium's most treasured classics, proving that some so called relics never become outdated., 'The Life and Death of Colonel Blimp' presents an epic story fuelled by high drama, tender romance, playful satire, and the bittersweet passage of time. A genuine masterpiece of filmmaking, the picture holds a secure place among the medium's most treasured classics, proving that some so called relics never become outdated.

Very loosely inspired by David Low's original “Colonel Blimp” comic strips, the story follows the life of General Clive Candy [Roger Livesey], a traditional British soldier who gradually finds himself out of sync with shifting wartime philosophies. Told in a flashback structure, the narrative chronicles General Clive Candy's misadventures from 1902 – 1942, periodically checking in on the incorrigible gentlemen as he navigates growing British/German hostilities and two World Wars. All the while, General Clive Candy maintains a deep friendship with a German officer [Anton Walbrook], and continues to pine over a lost love [Deborah Kerr] whose face he repeatedly sees in different women throughout his life. With the old "chivalrous" modes of warfare being phased out, General Clive Candy will eventually have to change with the times, or finally accept his tragically and sometimes comically obsolete status.

Critics often speak of certain actors being born to play specific roles, and in the case of Roger Livesey's remarkable turn as General Clive Candy, that sentiment has never been more appropriate. One of classic cinemas most unique and memorable creations, the character is a headstrong, old fashioned relic whose persona brilliantly walks the fine line between satirical distortion and endearing sincerity. Bawdy and refined all at once, General Clive Candy comes to represent the whole of a dying breed, and Roger Livesey injects the epic role with a larger-than-life bluster that's perfectly counteracted by a surprising undercurrent of sensitive pathos.

Playing the part in three distinct time periods, the actor crafts a convincing, gradual transformation that hits all the right transitional beats. Everything from his distinct voice to the very way he carries himself, is flawlessly honed in to accentuate the role's impetuous elegance and gallant sense of outdated honour and his growing moustache, receding hairline, and expanding belly (all realized by some great make-up), only serve to further embellish the man's strong internal flair. Admittedly, when we first meet the character, already an old man, his look and manner seem exaggerated and over-the-top, but by the time the flashback structure comes full circle, Roger Livesey totally sells the performance, effectively revealing the beating heart that rests beneath General Clive Candy's farcical outer shell. A lesser actor may have overplayed the part, but Roger Livesey so effortlessly steps into the General's shoes, that it seems as if they were tailor made for him to begin with and as guided by the masterful hands of Michael Powell and Emeric Pressburger, the results are nothing short of iconic.

At the core of the runtime is an insightful examination of evolving (or perhaps devolving) battlefield strategies, pitting classic "gentlemanly" British militarism against the decidedly less honourable tactics of the first and second World Wars. An old soldier in the midst of a new kind of conflict, General Clive Candy refuses to let go of his increasingly anachronistic principles, and this leads to some legitimately provocative questions. The narrative's key thematic quandary challenges the protagonist's idealistic concept of "right is might" and forcing the character, and the audience, to consider a less admirable approach. If the opposition is unwilling to play by the so-called rules of engagement, must one then fight like the enemy in order to survive?

There are of course no easy answers, and this plot point actually proved to be very controversial during the film's production in 1942. In fact, the script generated heated opposition from the British military who did not take kindly to the implication that they might have to fight like Nazis in order to win the war. It's a complicated and morally ambiguous issue, and while the old-fashioned, broad storytelling style does limit some of the screenplay's depth and nuance, Emeric Pressburger handles the material with a skilful hand, and balances these weighty concepts with light-hearted farce and poignant humanity.

Expanding its range beyond just warfare, the movie also becomes a playful satire focused on the amusing minutia of manners and protocol. Through an elegant silliness, the filmmakers cleverly poke fun at the inherent absurdities of polite conflict. Furthering this end, Emeric Pressburger's dialogue is full of hilariously dry observations and densely packed, witty conversations. As a whole, a certain prim and proper quirkiness permeates throughout the runtime, and even the most minor characters are all layered with a sly sense of sardonic personality.

The film's influential duel scene is a particularly good example of this sharp satirical style. As General Clive Candy gets ready to do battle against a German soldier he has offended, his superiors meet the opposition to discuss the complicated ins and outs of their duel. While both parties go over the ridiculous rules and regulations, they maintain an almost absurd level of cordial civility, discussing the potentially deadly conflict as if they've merely gotten together for tea and crumpets. Likewise, the actual preparation for the battle follows in similar suit, and after showing an extended sequence detailing the pre-duel rituals, Michael Powell and Emeric Pressburger then completely subvert expectations by quickly transitioning away from the actual fight. The filmmakers realise that the battle itself isn't what's interesting; it's the complicated groundwork and paradoxical courtesy that's really fascinating and incredibly entertaining.

On the opposite end of the spectrum, is a quietly staged scene that features a soft spoken monologue beautifully delivered by Anton Walbrook. As Theo mourns over his great losses, Powell opts to present a large chunk of the sequence as one undisturbed shot, gracefully pushing the camera in and out to emphasize the emotional arc of the character's words. It's a carefully understated bit of direction that subtly enhances the mood, while still allowing Anton Walbrook's heart-breaking performance to take centre stage. The movie is littered with similarly delicate or alternatively brash stylistic choices, and together they help to create an irresistible sense of motion picture wonder.

Widely revered as one of the greatest British films of all time, 'The Life and Death of Colonel Blimp' easily lives up to its lofty reputation. A melancholy lamentation on changing times, a thoughtful rumination on war-time ethics, a touching romance, a hilarious satire, and a thoroughly ambitious character study all rolled into one stunning Technicolor marvel, this really is one of cinema's crown jewels. General Clive Candy is a masterful creation, and Roger Livesey delivers a performance so assured in its blustery bravado and heart-warming intimacy, that it feels both larger-than-life and perfectly natural all at once. Through the decades spanning tale of a stubborn general's trials and tribulations in love and war, the film tells the epic story of a young fool who becomes a grand old man or perhaps, a grand young man who becomes an old fool. After all, in Michael Powell and Emeric Pressburger's charmingly satirical world, I'm not so sure that there's a difference.

Winston Churchill, who detected a lot of himself in the Michael Powell and Emeric Pressburger version of “Colonel Blimp,” was outraged by the film. Given the gentle handling of Anton Walbrook's character, there was even concern that the picture was pro-German! Winston Churchill's Minister of War, Sir James Grigg, tried to nip the entire enterprise in the bud, when after reading the screenplay, he refused to loan Michael Powell and Emeric Pressburger any form of military gear for filming. That however didn't stop the producers. As Michael Powell later wrote in his autobiography: "I have often been asked how we managed to obtain military vehicles, military uniforms, weapons and all the fixings after being refused help by the War Office and the Ministry of Information. The answer is quite simple: we acquired them by whatever means possible" Apparently, Michael Powell and Emeric Pressburger had enough friends in high places to scrounge together everything they needed to make the film.

Blu-ray Video Quality – ‘The Life and Times of Colonel Blimp’ is presented in its original aspect ratio of 1.37:1. On widescreen televisions, black bars will appear on the left and right of the image to maintain the proper screen format. The digital master presented here was made from The Foundation’s 2012 restoration. For the restoration, the original 35mm three-strip Technicolor negatives were scanned at 4K resolution on an Imagica wetgate scanner at Point360 in Los Angeles, California. But I can tell you that the 1080p image transfer is absolutely stunning and is remarkably pristine, very fine detail, and vibrant, this is a very impressive and wonderfully faithful video presentation. The print has been painstakingly restored, and outside of some very minor specks and colour pulsing here and there, the source is nearly immaculate. In fact, there are several stretches (particularly the opening motorcycle scene) that appear so spotless and clear that they almost look like they could have been shot yesterday. Though not as prominent as I was expecting, a very light layer of grain has been preserved. If DNR was applied to the image, its use was judicious, and has not resulted in any negative detail damaging side effects.

From the moment the film begins, it's readily apparent that one is in for a real visual treat. The main title sequence depicts a series of sewn tapestries, and the image proves to be impeccably rendered, revealing every tiny thread of needlework in the textiles. From there, clarity remains strong and consistent throughout, delivering the Archers' gorgeous visuals with life-like dimension. Fine details are often so apparent, that limitations in the production's make-up and effects are actually exposed (one can clearly see the pasted on edges of Roger Livesey's receding wig, for instance). The Technicolor cinematography shines beautifully, with rich saturation and bold primaries and especially the reds and blues. With that said, there are a few scenes that look comparatively dull and faintly washed-out. Contrast is steady throughout, with inky blacks and even whites (though the final shot is a little blown out). As further enumerated in the included restoration demonstration, the Film Foundation has really done a brilliant and astounding job here. Damage has been dutifully cleaned away while still preserving the movie's cinematic integrity, repairing this timeless classic back to its original vibrant glory. While there are some very minor flaws here and there, this is a true standout release, and pure demo material for classic cinema on Blu-ray. And if you have always been curious to know what a real Technicolor image is like, well this is definitely up there at the top and you would think the film was made in the 21st Century, it is that stunning.

Blu-ray Audio Quality – The audio soundtrack was digitally restored from the original monaural optical soundtrack by Audio Mechanics in Burbank, California. It is presented in a 1.0 LPCM Mono Audio track with optional English subtitles. Though limited by its age, this is a very solid mix that's free from any major technical issues. For the most part, dialogue is clean and reasonably full. Likewise, effects work and music are handled well within the single channel, maintaining a proficient dynamic range. With that said, when there is a lot activity in the track, there are a few instances where frequencies start to muddle together a bit, making speech just a hair difficult to discern. This is particularly true of an early scene between General Clive Candy and Edith in a café where some of the background sounds can make it a tad hard to hear their conversation. Thankfully, this is a very minor concern, and the majority of the presentation is quite strong for its age. Background hissing is audible in the main title sequence and several scenes throughout, but does not prove to be a major distraction. Modest but technically sound, the mix is faithful and fitting, preserving the film's sharp dialogue and wistfully romantic musical theme.

Blu-ray Special Features and Extras:

NEW digital master from the Film Foundation's 2012 4K restoration, with uncompressed monaural soundtrack on the Blu-ray edition.

Audio Commentary: Commentary featuring director Michael Powell and filmmaker Martin Scorsese: Recorded in 1988, this is a welcome but not quite exceptional track. The audio transitions from Scorsese to Powell throughout, but sadly they appear to have been recorded separately, and there is no actual back and forth between the two. Scorsese elaborates on his great love for the movie while frequently analysing the director's visual style and influence on his own works. Powell actually takes over the brunt of the commentary, and while his speech is slow and a tad slurred and he was 83 at the time and sadly would pass away just two years later. The famed filmmaker offers relevant bits of production trivia, describes how certain shots were accomplished, commends his various collaborators, and points out the amusing hats that Deborah Kerr wears. He also addresses the British government's opposition toward the film, and talks mostly of their concerns up to misunderstanding. There are a few lengthy gaps in the track, but it's still a worthwhile and enlightening listen.

Special Feature: Introduction by Martin Scorsese [2012] 1080p] [16:9] [14:00] Presented with 2.0 Dolby Digital audio sound, this is a video introduction with filmmaker Martin Scorsese that was recorded in 2012. After a quick preamble, Martin Scorsese launches straight into production trivia, detailing the casting process and the difficulties that arose due to the British government's resistance to the script. The film's various butchered edits are also addressed, and Martin Scorsese shares a story about how the film's famous duelling scene directly inspired an important sequence in 'Raging Bull.'

Special Feature Documentary: A Profile of ‘The Life and Death of Colonel Blimp’ [2000] [1080i] [24:00] Presented in an upscale image, and this is a documentary produced in 2000 that chronicles the film's production and impact. Participants include filmmaker and grandson of Emeric Pressburger, Kevin Macdonald ['The Last King of Scotland'], and actor Stephen Fry, who all discuss the film's characters, plot, and style. Legendary cinematographer Jack Cardiff, who served as a second unit cameraman on the shoot, is also featured, and reveals how his work on the film's famous trophy head sequence got him the job as DP on the Archers' next film.

Special Feature: Restoration Demonstration [1080p] [16:9] [5:00] Here, Martin Scorsese returns to walk us through the picture's impressive restoration. The filmmaker discusses the original Technicolor process and then details the digital techniques used to repair the source prints. Before and after shots are also shown, revealing the hefty damage, wear, and other visual anomalies that were carefully cleaned away.

Special Feature: Optimism and Sheer Will [1080p] [29:00] In this lengthy and informative interview recorded in 2012, Academy Award® winning editor and widow of Michael Powell, Thelma Schoonmaker, describes how she met the director and discusses the film's long-lasting themes.

Special Feature: Stills Gallery [1080p] Featuring an extensive gallery of rare production stills, behind-the-scenes production stills, and promotional materials is included. Some relevant facts and bits of trivia are also provided in between the various images.

Special Feature: David Low's Colonel Blimp [1080p] Two galleries, titled "David Low and Colonel Blimp" and "Cartoons," offer examples of cartoonist David Low's original Colonel Blimp comic strips, which served as a very loose inspiration for the film.

BONUS: A beautiful 26 page booklet, which contains cast and crew lists, some beautiful colour stills from the film, and featuring a new essay on "The Life and Death and Life of Colonel Blimp" by critic Molly Haskell, who gives a celebratory essay on the very in-depth information and especially on the background of this 1943 masterpiece, and will give you lots of valuable insights, especially with this extra excellent written material.

Finally, this new Blu-ray edition of Michael Powell and Emeric Pressburger's ‘The Life and Death of Colonel Blimp’ doesn't just miraculously restore the visual beauty of this great film (perhaps as great, in its own very British way, as Citizen Kane did in America). It also comes loaded with context that reminds us of its decades-long slog through the desert of severe, sloppy editing-down and messy, incomplete, technically deficient prints, reminding us how fortunate we are to have it at all, let alone in a version as complete and gorgeous as this. The film itself is, of course, a treasure and the intimate-epic story of General Clive Candy (the wonderful over the top Roger Livesey), one representative scion of a stiff-upper-lipped, ultra-civil Englishness who ever more clueless and touchingly, maintains those values through two World Wars that prove (or at least render) them obsolete, all while he pursues his Ideal Woman (Deborah Kerr, in three roles) and becomes unlikely, lifelong friends with the "enemy" in the form of his less-fortunate German opposite number Anton Walbrook. This was Michael Powell and Emeric Pressburger's first Technicolour film, and its supremely well-integrated and imaginative use of the Technicolor images and such, that it's hard to decide whether its look, the cleverness and affectionate humour around the principled but blowhard-ish Colonel, and its surprise layers of deep emotional impact, or its brilliant structure, and definitely done not for show, but to most effectively bring out and develop the senses of melancholy and loss that come with the passing of time over a whole life) are its highest achievement. What is certain, though, is that whether you appreciate one of those qualities more on this viewing and another of its many accomplishments on the next, there will always be a happily anticipated next time watching it for as long as you're around to revisit the classic films in your collection, of which this Blu-ray is an essential part. ‘The Life and Death of Colonel Blimp’ is a long-lived masterpiece whose riches at every level are well-nigh inexhaustible. On top of all that, I never really got to see this either in the cinema or on British Television, especially with this type of film; they always put it on a Sunday afternoon. Well I am so glad I waited for this ultimate Criterion Blu-ray disc, as it is the most awesome Technicolor film I have seen in a very long time, apart from the awesome my 3D Blu-ray presentation of `The Wizard of Oz.' So if you want to see perfection of not only amazing stunning images, but also the first class English and European Actors, so much so I am so proud I have now added this to my ever increasing The Criterion Collection Blu-ray library, as I know you will get a 100% perfection, that will blow you away. Very Highly Recommended!

Andrew C. Miller – Your Ultimate No.1 Film Fan
Le Cinema Paradiso
WARE, United Kingdom
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VINE VOICEon June 17, 2008
"The Life and Death of Colonel Blimp" is a magnificent film!

Fully restored in its Technicolor glory, this movie by Powell and Pressburger (who also brought us "Black Narcissus' and "The Red Shoes") portrays forty years in the life of a British officer, Clive Wynne-Candy (Roger Livesey), who in the enthusiasm of youth rushes off to Berlin (against orders) to save the reputation of Britain, which is being maligned by a dastardly double agent. During the adventure, which lands Wynne-Candy in the midst of what promises to be an international incident, he meets a lovely governess (Deborah Kerr in one of three roles in the film). He also meets Theodore Kretschmar-Schuldorff (The magnetic Anton Walbrook--who played the sinister ballet impresario, Lermontoff, in "The Red Shoes") over sabers at dawn. After drawing blood, the two adversaries become friends for life, despite two wars.

Criterion Collection has knocked itself out to produce this beautifully restored DVD. The colors are crisp and clean. The production team has also provided English subtitles for those for whom the accents might prove difficult to understand (although the diction of the actors is splendid). The film comes with a commentary by director Michael Powell and Martin Scorsese, as well as a really informative documentary with Stephen Fry that is more than the self-promoting puffery that accompanies so many DVDs nowadays. The extras present fascinating facts about how Winston Churchill tried to ban the film from being shown in Britain and from being exported. There is also a feature depicting David Low's "Colonel Blimp Cartoons" that usually begin with the walrus-mustached Colonel pontificating: "Gad! Squiffy Harbottle [or some such notable] is right! We have to bring peace to the inhabitants of Lower Waq-Waq Land, even if we have to wipe out every last one of the blighters to get it!"

On one level, the movie is about the inability of some of the twentieth-century British military establishment to abandon the gentlemanly Public School rules of fair play in an era in which the Nazis had not only made up their own rules which they kept changing, but had also thrown away the rule book.

The performances are simply top-drawer, but for my money, Anton Walbrook runs away with the film. Walbrook is such a master of his craft that he can sit motionless in his chair and evoke powerful feelings in the viewer by only a subtle modulation of his voice. Walbrook's performance is both powerful and effortless.

And if "Colonel Blimp" seems a bit old fashioned, well it is! They simply don't make fine movies like this any more.
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