The Man in Grey

A film which has a lot to answer for, since it started both a trend for Gothic romantic melodramas in British cinema which proved ideal escapist fare for a country at war, as well as starting off various star careers (notably James Mason and Stewart Granger). The former, in particular, cornered the market for a while in brooding anti-heroes whose sadistic streak women seemed to find perversely attractive; incidentally, his part here was smaller than I had anticipated – since the protagonists were really the two ladies who suffered at his hands i.e. Margaret Lockwood and Phyllis Calvert (both of whom would likewise become fixtures in this type of film). Still, this being the prototype, its makers utilized modern-day book-ends – with the conveniently look-alike descendants of the 'good' couple, Calvert and Granger, having better luck coming together – as a safety-pin (not to mention adopting such anachronistic devices as having Calvert's "nigger" servant-boy played by a white child in black-face!). With this in mind, the film is somewhat halting as entertainment when viewed today, but it nevertheless yields pictorial felicities aplenty (courtesy of cinematographer Arthur Crabtree, who would almost immediately graduate to director and dabble in the costume genre for himself), as well as considerable interest throughout. For the record, the latter arrives by way of the occasional powerful scene (Mason and Granger's night-time scuffle in a public garden, Lockwood's come-uppance at the hands of the doting but honor-bound Mason) or humorous incident (a stock-company performance of Shakespeare's "Othello" in which Granger and Lockwood discuss attending aristocrat Calvert, a mutual acquaintance, during the all-important murder scene of Desdemona). Among the film's more notable (and commercially successful) follow-ups, then, were FANNY BY GASLIGHT (1944; which re-united Mason, Calvert and Granger) and THE WICKED LADY (1945; again directed by Arliss and featuring both Lockwood and Mason).

JAMES MASON: THE STAR THEY LOVED TO HATE (TV) (Mike Healey, 1984) **1/2

This adequate, if hardly comprehensive, look at one of the most revered actors of the 20th century (one I greatly admire myself) probably amounted to his last ever interview – since the versatile British thespian would die before the program had even aired! With a career spanning some 50 years, it necessarily skimps over score of titles (even some very good ones) and, given the title, tends towards discussion of his sinister roles (which is actually how he rose to stardom: see my review of THE MAN IN GREY [1943] elsewhere and on whose R2 DVD this documentary was included, albeit in abridged form) rather than being a broad overview of his entire body of work – though, curiously enough, there is no mention at all of Alfred Hitchcock's NORTH BY NORTHWEST (1959) in which the actor did play villainous and is possibly the best film he was ever associated with! Mason, graceful as ever, is quite candid in his recollections – from the peculiar circumstances surrounding his first marriage (actress/writer Pamela Kellino would leave her cinematographer/director husband Roy for him, yet the three would form a lasting if not very successful film-making alliance!), his famous criticism of the British movie industry in a series of articles (what was seen as career suicide at a time when it had basically peaked did lead to a move to Hollywood, though his beginnings there were inauspicious) and when it came to choosing the three pictures he was least fond of, namely LADY POSSESSED (1952; one of the Kellino collaborations), FOREVER DARLING (1956; in which he appeared as an angel alongside Lucille Ball) and KILL! (1971; Romain Gary's bizarre thriller about drug-smuggling). In direct counterpoint, then, the two roles he had singled out over the years as his favorites – ODD MAN OUT (1947) and LOLITA (1962) – are likewise given their due. All in all, a nice record of one of filmdom's most compelling and intelligent presences in rare self-appraisal mode.

Lord Rohan isn't to be blamed for wanting to marry a healthy young woman who will produce a male heir for him, nor is Clarissa to blame for so quickly accepting his proposal, after all her prospects weren't all that great. Nor can I blame Hester for wanting all the things she could never have growing up. No, this is just how it was in those days. I enjoyed Margaret Lockwood's performance the most; it's hard to show remorse in a cold, calculating character and she brings it off well. Calvert, Mason and Granger give her excellent support.

A good old-fashioned bodice-ripper, it was the first big success for Britain's Gainsborough Studios which decided to take on the big costume dramas of Hollywood with home-grown talent. Introducing to the masses soon-to-be-familiar names like Mason, Granger, Lockwood and Calvert, it set the template for succeeding and ever more successful variations on this particular formula, often employing different combinations of this same quartet of acting talent.

High art it isn't, based as it is on a popular novel of the day, but it's easy to imagine its populist and escapist appeal to a wartime audience. James Mason, for one, hated the film and his own acting in it but the fact of the matter is that it's his presence in the titular role, as the misogynistic, sadistic and decadent Lord Rohan, who despite his despised and feared personal characteristics has the fabulous wealth and high status which make him the most desirable bachelor of the day. This is how he meets the pretty, sparky, trusting debutante Clarissa Marr, played by Phyllis Calvert, whose mother offers her to Rohan at what can only be described as a female cattle market, indeed just like all the other mothers and daughters of the day in attendance.

However it's not long before the young bride comes to her senses after she does her wifely duty in siring him a son and heir at which opportune moment just when she feels doomed to a loveless marriage, into her life enters Granger's Peter Rokesby, an adventurer fallen on hard times but otherwise dashing, handsome and sincere in his feelings for her which she soon reciprocates.

Soon she gets him a place as librarian, of all things, at Rohan Hall but there's a viper in this new love-nest in the shape of the darkly beautiful Hesther Shaw, played with relish by Lockwood. Of low birth but with high ambitions, she uses Clarissa's desire for one good friend in her life to also enter the household and usurp her position as Rohan's woman of choice, becoming effectively his live-in mistress. This ABBA-esque set-up with all four new and ex-lovers under the one roof of course can't last with machinations on all sides of the quadrangle leading up to not one but two murders, one of them infamous for its brutality as Rohan gets the whip-hand over his wife's murderer.

Maybe I shouldn't have, but I really enjoyed this Regency romp. I found the "two-good, two-bad" interplay of the four main characters added a degree of psychological intrigue as the plot developed in sometimes surprising ways. It's not perfect, the young black boy (in obvious blackface, and why did he have to be black anyway?) who plays an important part in the denouement seems to be reading his lines off-screen, the background music is far too intrusive and I disliked the present-day framing device which threw together the descendants of Calvert and Granger to sweeten the ending.

But with its handsome and pretty leads, whirlwind action and impressive sets, it's easy to see why it was so successful in its day.

'The Man In Grey' was the first film in the cycle of Gainsborough costume melodramas (which ended in 1948 with 'The Bad Lord Byron') and it's easily one of the very best. At the time, it was the pairing of a superstar (Lockwood), a star (Mason), a rising star (Calvert) and a newcomer (Granger), a combination which catapulted all four to the top of their profession, and made them the four names most associated with the costume. It's a pity that the four never made another movie all together!

Margaret Lockwood as Hesther was just pure evil - a cold, calculating woman. One does get the idea that there is a small glimmer of kindness inside her, but she squashes it pretty quickly. Phyllis Calvert was as sweet as honey, as usual the beloved heroine. Her Clarissa is the main character of the tale - married off to Lord Rohan (Mason) because he desires an heir, she soon tires of his indifference and falls for traveling player Rokeby (Granger). Hesther (Lockwood) in turn falls for Rohan and he for her. And of course you know that's set for trouble. A hint of how much trouble? THIS is the film with the infamous horse-whip thrashing scene.

What's also interesting is the whole story is told in flashback, when Calvert and Granger, descendents of the Rohan and Rokeby families, meet at an auction of the Rohan estate. Nice to see a bit of modern dress for a change!

I'll explain the subject of my review later.

I won't lie and say I enjoyed this film, though I certainly loved seeing all the actors so young, and their acting was marvelous.

"The Man in Grey" begins at a modern-day auction where Phyllis Calvert and Stewart Granger meet. Granger is hoping to pick up something from the Rohan family - one of his ancestors was involved with a Roham. Calvert actually is a Rohan.

As they look over the various small items available, the film dissolves to an earlier time period. We see how these items were connected to the various people in the story.

The lovely Clarissa (Calvert) marries the wealthy, arrogant Lord Rohan (James Mason) not for love, but so he can have an heir while he continues with his hedonistic life. While in school, Clarissa befriended a poor girl, Hester (Margaret Lockwood). One night she sees that Hester, who had run off to get married, is in a play, and makes contact with her.

It's not long before Hester is living in the manse with Clarissa and Lord Rohan and decides that three's a crowd. The unhappy Clarissa meets Rokeby (Granger), and they fall in love. He wants her to leave Rohan. What will happen to the lives of these four?

Apparently this film was a huge hit and really established these stars. For me it was problematic. The first complete turn-off was a discussion of a disgusting dogfight. Thank God it was just a discussion. I nearly stopped watching then but soldiered on. It solidified Lord Rohan for me as a revolting human being.

And then we have little Toby (Antony Scott). You're kidding, right? He plays a boy slave who is devoted to Clarissa. He's a white kid in blackface. Stupefying. Or was he? Supposedly he is the son of Harry Scott, part of the minstrel team of Scott and Whaley. Scott and Whaley supposedly actually were black. But boy this kid looked like he had on blackface. A little mystery that I couldn't solve.

The Man in Grey is a story where good is good and evil is evil, no in betweens. Hester and Lord Rohan are nasty pieces of work.

See it for the fine actors and as an example of Gainsborough films - this is probably the most successful one.