I was about 8-years old when I saw "Malta Story". It was one of those British war movies I saw during the 1950's with my family at our suburban theatre in Sydney. It seemed like our patriotic post-WW2 duty to see them.
I must admit I thought this one gloomy. That had a lot to do with Alec Guinness' performance as Flight Lieutenant Peter Ross. More than just detached he seems depressed. What did Maria (Muriel Pavlow) see in him as he listlessly goes through the motions? Unlike many of those movies there are few touches of humour, just the odd gripe from a couple of ORs. The story is a struggle against the odds only relieved at the end.
Mind you, Alec was surrounded by plenty of stoicism. No one could command like Jack Hawkins as Air Vice-Marshall Frank. What a presence he had, you get the feeling a chap would rather go on a suicide mission than be carpeted by Jack.
Then there was Anthony Steel as Wing-Commander Bartlett. Overall he wasn't a better actor than Alec, but would he have been a better fit for Peter Ross? He did have leading man looks; he'd also walked the walk during the war with an impressive record. Of course most of those in front of the camera and behind it had served. That sang froid, the famous stiff upper lip, was not just a cinematic invention, it was a quality these people saw and celebrated.
The film has memorable, B/W scenes of the Maltese living and sheltering against a background of ancient structures and bombed-out ruins. Also the integration of documentary footage was fairly seamless, a compliment to the wartime cameramen who photographed the siege and attacks on ships.
Malta's dilemma is explained with pieces on a classic plotting board. We also get conflicting arguments about the British in Malta through the fictional story of a Maltese Family.
Music was such a distinctive feature of those British war films. No matter the composer though, when their scores had been under the busy baton of conductor Muir Mathieson, they sounded similar, including this one by William Alwyn.
By the late 50s the films had taken on a more cynical tone responding to changing attitudes in society. But that group of films headed by "The Dam Busters", were an uncomplicated appreciation of national achievement. They showed the sacrifice, but didn't question that it had to be made.
I must admit I thought this one gloomy. That had a lot to do with Alec Guinness' performance as Flight Lieutenant Peter Ross. More than just detached he seems depressed. What did Maria (Muriel Pavlow) see in him as he listlessly goes through the motions? Unlike many of those movies there are few touches of humour, just the odd gripe from a couple of ORs. The story is a struggle against the odds only relieved at the end.
Mind you, Alec was surrounded by plenty of stoicism. No one could command like Jack Hawkins as Air Vice-Marshall Frank. What a presence he had, you get the feeling a chap would rather go on a suicide mission than be carpeted by Jack.
Then there was Anthony Steel as Wing-Commander Bartlett. Overall he wasn't a better actor than Alec, but would he have been a better fit for Peter Ross? He did have leading man looks; he'd also walked the walk during the war with an impressive record. Of course most of those in front of the camera and behind it had served. That sang froid, the famous stiff upper lip, was not just a cinematic invention, it was a quality these people saw and celebrated.
The film has memorable, B/W scenes of the Maltese living and sheltering against a background of ancient structures and bombed-out ruins. Also the integration of documentary footage was fairly seamless, a compliment to the wartime cameramen who photographed the siege and attacks on ships.
Malta's dilemma is explained with pieces on a classic plotting board. We also get conflicting arguments about the British in Malta through the fictional story of a Maltese Family.
Music was such a distinctive feature of those British war films. No matter the composer though, when their scores had been under the busy baton of conductor Muir Mathieson, they sounded similar, including this one by William Alwyn.
By the late 50s the films had taken on a more cynical tone responding to changing attitudes in society. But that group of films headed by "The Dam Busters", were an uncomplicated appreciation of national achievement. They showed the sacrifice, but didn't question that it had to be made.