A Matter of Life and Death (1946)

Directors:

Michael Powell
Emeric Pressburger

Writers:

Michael Powell (written by) and
Emeric Pressburger (written by)

Release Date:

March 1947 (USA)

Genre:

Drama | Fantasy | Romance | War

Tagline:

Neither Heaven nor Earth could keep them apart!

Plot:

A British wartime aviator who cheats death must argue for his life before a celestial court.

Plot Keywords:

Heaven | Trial | Death | England | Love

Awards:

1 win

Cast

David Niven	...	Peter Carter
Kim Hunter	...	June
Robert Coote	...	Bob Trubshawe
Kathleen Byron	...	An Angel
Richard Attenborough	...	An English Pilot
Bonar Colleano	...	An American Pilot (also as Bonor Colleano)
Joan Maude	...	Chief Recorder
Marius Goring	...	Conductor 71
Roger Livesey	...	Doctor Frank Reeves
Robert Atkins	...	The Vicar
Bob Roberts	...	Dr. Gaertler
Edwin Max	...	Dr. McEwen
Betty Potter	...	Mrs. Tucker
Abraham Sofaer	...	The Judge / The Surgeon
Raymond Massey	...	Abraham Farlan

Also Known As:

Stairway to Heaven (USA)

MPAA:

Rated PG for thematic elements.

Runtime:

104 min

Country:

UK

Language:

English | French

Colour:

Black and White (Dye-Monochrome) | Colour (Technicolor)

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Recording)

Certification:

Portugal:M/12 | USA:PG (1995) | USA:TV-PG (TV rating) | USA:Approved (PCA #11724) | West Germany:16 | Finland:K-16 | Spain:T | UK:U (video rating) (1995) (uncut) | UK:A (original rating) (cut) | Ireland:G

Filming Locations:

D&P Studios, Denham, Buckinghamshire, England, UK

Company:

Archers, The

Trivia:

It was during a visit to Hollywood in 1945 that director Michael Powell decided to cast the then-unknown Kim Hunter as June, the American servicewoman, largely upon the recommendation of Alfred Hitchcock, who had done a series of screen tests of actors and actresses auditioning for parts in his upcoming production, Notorious (1946). The trouble was that in these tests, Hunter was not seen but, rather, heard off-camera, feeding lines and cues to the actors Hitchcock was actually testing. But Hitchcock assured Powell that he would arrange a "face-to-face" with Hunter and her agent, so that he could see for himself whether she fit the requirements of the "all-American" girl Powell had envisioned opposite David Niven. And upon first encountering Hunter, Powell agreed with Hitchcock that she indeed was a perfect choice for the role.

Goofs:

Continuity: When the table tennis game is frozen, the ball moves back a few inches from the first shot of the game to the second, and the position of Frank's left arm changes.

Quotes:

[first lines]
Narrator: This is the universe. Big, isn't it.

Movie Connections:

Featured in "Arena: A Pretty British Affair" (1981)

Soundtrack:

Scherzo

A young WWII airman misses his heavenly call, and challenges the laws of the universe to remain on earth.

I LOVE this movie. Director Michael Powell once stated that this was his favorite movie, and it is mine as well. Powell and Pressburger created a seemingly simple, superbly crafted story - the power of love against "the powers that be". However, its deception lies in the complexity of its "is it real or is it imaginary" premise. Basically, one could argue that it is simply a depiction of the effects of war on a young, poetically inclined airman during WWII. Or is it? The question is never answered one way or the other. Actually, it is never even asked. This continuous understatement is part of the film's appeal.

The innovative photography and cinematography even includes some nice touches portraying the interests of the filmmakers. For instance, Pressburger always wanted to do a cinematic version of Richard Strauss' opera, Der Rosenkavalier, about a young 18th century Viennese aristocrat. This is evident in the brief interlude in which Conductor 71, dressed in all his finery, holds the rose (which appears silver in heaven). The music even has a dreamy quality.

All of the acting is first rate - David Niven is at his most charming, and he has excellent support from veteran Roger Livesey and relative newcomer Kim Hunter. But, in my opinion, the film's charm comes from Marius Goring as Conductor 71. He by far has the most interesting role, filling each of his scenes with his innocent lightheartedness, brightening the film. It's a pity that some of Conductor 71's scenes were left on the cutting room floor. It is also a pity that Goring's comedic talents are rarely seen again on film, except in the wonderful videos of The Scarlet Pimpernel television series from the 1950s. This is by far and away the most memorable role of his film career. He is a perfect foil for relaxed style of Niven, and his virtual overstatement contrasts so nicely with the seriousness of the rest of the characters. Ironically, also in the mid -1940s, Niven also starred against another heavenly "messenger", played by Cary Grant, in The Bishop's Wife. Their acting styles were so similar that I found the result boring, unenergetic, and disappointing. As a note, according to Powell, Goring desperately wanted the role of Peter Carter, initially refusing Conductor 71. It's a good thing he gave in and gave us such a delightful portrayal.

The movie, "commissioned" to smooth over the strained relations between Britain and the U.S., overdrives its point towards the end. But it is disarming in its gentle reminders of the horrors of war - the numerous casualties, both military and civilian, the need to "go on" when faced with death. There is a conspicuous lack of WWII "enemies" in heaven, but the civilians shown are of indeterminate origin. Powell and Pressburger could have been more explicit in their depiction but it wasn't necessary. The movie may not have served its diplomatic purpose as was hoped for, but its originality continues to inspire moviemakers and viewers alike on both sides of the Atlantic.