Kind Hearts and Coronets (1949)

Director:

Robert Hamer

Writers:

Roy Horniman (novel)
Robert Hamer (screenplay) ...
(more)

Release Date:

14 June 1950 (USA)

Genre:

Comedy | Crime | Drama

Tagline:

He chopped down the family tree...

Plot:

A distant poor relative of the Duke of D'Ascoyne plots to inherit the title by murdering the eight other heirs who stand ahead of him in the line of succession.

Plot Keywords:

Duke | Widow | Photography | Poison | Funeral

Awards:

Nominated for BAFTA Film Award. Another 1 win & 1 nomination

Cast

Dennis Price	...	Louis
Valerie Hobson	...	Edith
Joan Greenwood	...	Sibella
Alec Guinness	...	The Duke / The Banker / The Parson / The General / The Admiral / Young Ascoyne / Young Henry / Lady Agatha
Audrey Fildes	...	Mama
Miles Malleson	...	The Hangman
Clive Morton	...	The Prison Governor
John Penrose	...	Lionel
Cecil Ramage	...	Crown Counsel
Hugh Griffith	...	Lord High Steward
John Salew	...	Mr. Perkins
Eric Messiter	...	Burgoyne
Lyn Evans	...	The Farmer
Barbara Leake	...	The Schoolmistress
Peggy Ann Clifford	...	Maud
Anne Valery	...	The Girl in the Punt
Arthur Lowe	...	The Reporter
rest of cast listed alphabetically:
Stanley Beard	...	Warder (uncredited)
Maxwell Foster	...	Warder (uncredited)
Peter Gawthorne	...	First Lord Delivering Verdict (uncredited)
Molly Hamley-Clifford	...	Lady Redpole (uncredited)
Leslie Handford	...	Gamekeeper Hoskins (uncredited)
Nicholas Hill	...	Sergeant-at-arms (uncredited)
Fletcher Lightfoot	...	Peer of the Realm (uncredited)
Cavan Malone	...	Young Graham (uncredited)
Laurence Naismith	...	Warder in Jail (uncredited)
Gordon Phillott	...	Clerk of Parliament (uncredited)
Jeremy Spenser	...	Young Louis (uncredited)
Ivan Staff	...	Valuer (uncredited)
Richard Wattis	...	Defence Counsel (uncredited)
Carol White	...	Young Sibella (uncredited)
Harold Young	...	Captain (uncredited)

Directed by
Robert Hamer

Writing credits
Roy Horniman		(novel)
Robert Hamer		(screenplay) &
John Dighton		(screenplay)

Produced by
Michael Balcon	....	producer
Michael Relph	....	associate producer

Original Music by
Ernest Irving		(uncredited)

Cinematography by
Douglas Slocombe

Film Editing by
Peter Tanner

Art Direction by
William Kellner

Costume Design by
Anthony Mendleson

Makeup Department
Barbara Barnard	....	hair styles
Harry Frampton	....	make-up
Pearl Gardner	....	hair styles
Ernest Taylor	....	make-up
Daphne Martin	....	assistant hair stylist (uncredited)

Production Management
Leigh Aman	....	unit production manager
Hal Mason	....	production supervisor

Second Unit Director or Assistant Director
Norman Priggen	....	assistant director
John Hewlett	....	third assistant director (uncredited)
David W. Orton	....	second assistant director (uncredited)

Art Department
G. Bryan-Brown	....	draughtsman (uncredited)
Bert Davey	....	assistant art director (uncredited)
Norman Dorme	....	draughtsman (uncredited)
R. Hopkin	....	draughtsman (uncredited)
Jack Shampan	....	draughtsman (uncredited)
V. Shaw	....	draughtsman (uncredited)
R. Thurgarland	....	draughtsman (uncredited)

Sound Department
Stephen Dalby	....	sound supervisor
John W. Mitchell	....	recordist (as John Mitchell)
A. Steadman	....	boom operator (uncredited)
Gordon Stone	....	dubbing editor (uncredited)
Pat Wheeler	....	assistant boom operator (uncredited)

Special Effects by
Geoffrey Dickinson	....	special effects
Sydney Pearson	....	special effects

Camera and Electrical Department
Jeff Seaholme	....	camera operator
Jack Dooley	....	still photographer (uncredited)
Bob Penn	....	still photographer (uncredited)
P. Pollock	....	clapper loader (uncredited)
Hugh Wilson	....	focus puller (uncredited)

Costume and Wardrobe Department
Edith Crutchley	....	wardrobe mistress (uncredited)
Ben Foster	....	wardrobe master (uncredited)

Editorial Department
Roy Baker	....	second assistant editor (uncredited)
Seth Holt	....	assembly cutter (uncredited)
John Jympson	....	second assistant editor (uncredited)

Music Department
Ernest Irving	....	conductor

Other crew
Phyllis Crocker	....	continuity
J. Arthur Rank	....	presenter (as J.Arthur Rank)
Susan Carbutt	....	assistant continuity (uncredited)
John Newham	....	publicist (uncredited)
Pat O'Connor	....	publicist (uncredited)

Production Companies

• Ealing Studios

Distributors

• General Film Distributors (GFD) (1949) (UK) (theatrical)
• Eagle-Lion Films (1950) (USA) (theatrical)
• Société des Etablissements L. Gaumont (1950) (France) (theatrical)
• Parvisfilmi (1950) (Finland) (theatrical)
• Public Broadcasting Service (PBS) (1976) (USA) (TV)
• Thorn EMI Video (198?) (USA) (VHS)
• Anchor Bay Entertainment (2002) (USA) (DVD)
• Studio Canal (2002) (USA) (DVD)
• Studio Canal (2006) (UK) (DVD)
• Janus Films (????) (USA) (all media)
• Mainostelevisio (MTV) (1970) (Finland) (TV)
• Sandrew Metronome Distribution (2008) (Finland) (DVD)
• Yleisradio (YLE) (1966) (1978) (2000) (2008) (Finland) (TV)

Other Companies

• Crest National  DVD coding
• Philharmonia Orchestra, The  music played by

Runtime:

106 min

Country:

UK

Language:

English

Colour:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (RCA Sound System)

Certification:

Iceland:L | USA:Approved (PCA #13442) | Finland:K-16 | UK:U (video rating) | UK:A (original rating) (cut)

Filming Locations:

Ealing Studios, Ealing, London, England, UK

Company:

Ealing Studios

Trivia:

The title refers to the following lines from Alfred Lord Tennyson's 1842 poem "Lady Clara Vere de Vere": "Kind hearts are more than coronets, And simple faith than Norman blood."

Goofs:

Continuity: When "The Hangman" (Miles Malleson) opens the peep-hole to the prisoner's cell, he moves the covering to the right, with a finger. After we are allowed to gaze at the back of the prisoner's neck for a few seconds, the shot reverts to the outside of the cell door; The Hangman releases the cover which closes from left to right, not right to left, as it should have done.

Quotes:

[first lines]
Warder in Jail: Good evening, Mr. Elliot.
The Hangman: Good evening.

Movie Connections:

Referenced in Red Dwarf: Launching 'Red Dwarf' (2002) (V)

Soundtrack:

Don Giovanni: Il mio tesoro intanto

Quite superb

This fine film is an example of Ealing at its very best, with a superlative script and acting of a very high standard. In watching, one is once more all too sadly aware of the difference in quality between British films of this era and today; there can't have been in recent times a screenplay as cleverly comic, economical and incisive as this is. The level of wit is high, and perfectly suitable for a black comedy such as this. Certain lines and scenes linger agreeably in the memory; the part where Price, in his droll narration, slips into verse, is wonderful, as is the "fight" he has with a lower-class rival; "I'm not going to drawn into a scuffle with you!"

The element of class satire is strong, and while one is shown the lethargy and complacency of the upper classes through the amusing parade of Alec Guinness' characters, Price's corrupt plans are never condemned as such. His character, vigorous and witty, and the clever tool of narration, which in its tone draws in the viewer almost as a confidant. Similarly, but to an even more effective degree than in "Whisky Galore!" (1948) and "The League of Gentlemen" (1959), the viewer is made sympathetic to wrong-doings. The stunningly executed plot and dialogue are finely put across indeed by all of the actors. In the main role, Price refines and defines the cad Mancini perfectly; it really is a great performance, making the character more than memorable. Alec Guinness is great in his 8 roles, making a distinctive actorly mark in all of them. It says a lot that in a career as formidable as Guinness', in TV, film and theatre, his contribution to this film particularly stands out. The two ladies are impeccably played by Valerie Hobson and Joan Greenwood, who contrast quite perfectly; Hobson as rich and strait-laced if certainly beautiful, and Greenwood as the distinctively seductive childhood friend. Price's "juggling" of his two women is wonderfully arch and amusing. The film's ending should be noted as quite ingenious and wonderfully in keeping with the film's overall wit.

In the context even of Ealing, a studio adept at clever comedies, this is an extra-special film. Along with the films of this era of Powell and Pressburger and Carol Reed, this film makes one nostalgic for the days when British film was both distinctively British and universal in its qualities. Wonderfully funny and compelling, this film is one of my few favourites of all and overwhelmingly recommended.

Rating:- *****/*****