Bombsight Stolen

Moviecut—Bombsight Stolen

source: Bombsight Stolen

Better than you might expect from the British film industry at the height of the country's distress in 1941. It's a diverting and mostly comic mystery with a clotted plot. A cottage in rural Scotland is owned by the local aristocrat, Mrs. Barrington. She's a youngish woman with good intentions but with the insight of one of those vines whose leaves curl when you touch them. "Pay no attention to the fact that you're such a nuisance," she tells one resident of the cottage. And, "I want you to do anything here you like except don't touch anything." And when Sims introduces himself, saying, "I'm Dimble," she puts a hand on his arm and replies, "Oh, I'm so sorry." This "cottage", by the way, is what most of us would call "a pretty big house." That's how it can be converted into a war time facility -- a hostel for young evacuees from London, a local hospital, a site for fund-raising bazaar, the laboratory of a bomb sight inventor. It appears that the inventor's secrets are somehow being conveyed to the Nazis. There are twists and turns in the plot, which I won't describe, except to say that there is one German agent and one double agent -- I think that's the term -- among the inhabitants. The film gets kinetic towards the end, with fist fights and shootings. It sheds its comic tone and turns into a thriller. That doesn't prevent one character from rolling a giant millstone over two armed enemies and commenting, "Two birds with one stone." Not to be taken seriously, and sometimes positively amusing.

An enjoyable piece of British wartime entertainment, probably to be appreciated more now than by audiences at the time, (who would have found it very 'stagey' and lacking in action, I suspect). The plot is nothing in particular and its stage origins are all too apparent in the set locations, which cover the cottage of the title acting as a lodging house, home for evacuated children from London and a military hospital (????) whilst, up at 'the Big House', there is a 'top-secret' research laboratory, (which you know is 'top secret' as one of the (numerous) doors has a sliding panel in it),(but which actually seems to have more people entering and leaving it in the course of the film than the lounge of the 'Dog and Duck'), country gentry residence and garden fête venue. The real strength of the film, though, is its very strong cast. Leslie Banks is quite watchable on as the lead and John Mills is his usual, (for the period), photogenic, brylcreemed RAF fighter pilot hero, (or IS he?), who delivers in the usual sound manner. George Cole makes his first film appearance as one of two Cockney scamps evacuated to the 'cottage', (although the other one disappears from view entirely after the first five minutes!), and one can already see him mentally in a mini-sheepskin coat and with a cigarillo in hand as he begins his apprenticeship for greater glories to come in his career. Alastair Sim is, as usual, extremely good value for money and always watchable. The REAL star, though, I thought, was Jeanne De Casalis as the dotty 'Lady of the Manor', showing marvellous comic timing, interacting with all the rest of the cast flawlessly, (catch her expression when the little girl who has just handed her a bouquet of flowers at the opening of the fête wants it back!), and having me in stitches with her spoonerisms, ("Are you the lad with the manor? I'm sorry, I meant the man with the ladder?"), and, above all, her speech opening the fête; ("In the words of our dear Prime Minister, never was so much owed by so few to so many"). Somehow, one just cannot see film-makers of the time doing the same to speeches of their leader in the Kremlin! I shall certainly watch out for any other films starring this lady.

A cranky scientist is working on a new bomber sight for use against the Nazis. He's holed up in a cottage in Scotland so he can work in private. However, the place turns into a bit of a circus, with more and more people turning up. Clearly, the Germans are after his invention. But who is the bad guy? The weird new lodger? The butler? The wounded pilot? The cook? And who is the GOOD guy, trying to foil the Nazi plot? This is a light thriller, with some fine actors (Mills, Sim, and a teen-aged George Cole in his first role) and some good plot twists. But because of the vein of humor throughout, it's hard to get emotionally involved even when the good guys are in peril. There are some scenes reminiscent of Hitchcock (the auction, the barn scene, the hall of mirrors), but in his hands, they would have been truly tense. This is definitely worth a watch, if you are a fan of British films of the WW2 era, or if you enjoy Alastair Sim as much as I do. But all considered, it's a thriller without much of a thrill.

"Cottage to let" borrows heavily from the works of such popular British novelists of the 1930s as John Buchan,Dornford Yates and "Sapper".Kidnapped scientists,plucky schoolboys,cold -eyed detectives,dastardly German spies and pretty girls with summer dresses and wide-brimmed hats filled their pages.Now considered "Fascist",racist","imperialist"and probably several other "ists" I've never heard of,in more sensible times they were thought of as "good reads",nothing more,nothing less. In the movie the inventor of a secret bombsight is kidnapped by dastardly German spies and saved by the intervention of a plucky schoolboy and a cold - eyed detective. There is a splendidly Hitchcockian Auction scene where Mr John Mills as an injured RAF pilot picks up a warming pan by the handle and asks "What's this - a banjolele?"thus encapsulating in one word the whole era. Mr Alistair Sim is a sardonic Scottish detective,Miss Jeanne de Casalis (on the wireless as Mrs Shufflewick/Pennyfeather) splendidly dotty as the spooneristic posh lady. Young master George Cole is a role model for schoolboys carving Spitfires from bits of firewood during the blackout. Thoroughly enjoyable wartime entertainment at the expense of the dastardly Germans(sorry,our European partners - oops!I now await the midnight knock on the door)

During WWII, there were tons of propaganda films made in the US and Britain to bolster the war effort. Most of them were pretty good and did a good job of mustering support for the war, though quite a few of them (like this film) seem awfully far-fetched when seen today. Now this ISN'T to say that they are bad films or that they are so difficult to believe that it ruins them--it surely doesn't. You just need to suspend disbelief and sit back and enjoy them for what they were intended. COTTAGE TO LET is a dandy little film that packs some excellent stars and performances into it. It's very heavy with stars, having Leslie Banks, Alistair Sim and John Mills. However, while certainly not a star at the time or even one for many years to come, I really enjoyed young George Cole's performance as the precocious teen, Ronald. Despite all these stars, he managed to more than hold his own as a character who was almost like Sherlock Holmes and Dennis the Menace rolled into one! The story, as I said, is tough to believe. Having one or two Nazi spies in Britain during the war was indeed believable, but having so many more and such a complicated plot wasn't. Plus, while you could believe them perhaps stealing some plans or killing a scientist, having an elaborate plot where they kidnap the scientist and take him all the way back to Berlin UNDETECTED is far-fetched. However, in addition to the good acting, the plot was entertaining--so much so that you could ignore all the impossibilities and improbabilities. Overall, while not a great film, it is a fine example of wartime British cinema and is entertaining and fun.

A diverting but stagey wartime spy mystery set in a densely populated remote Scottish village full of people with cut-glass accents. Apart from George Cole, that is, whose Cockney rhyming slang and sharp cracks still work today. George, John Mills and Alistair Sim are the only leads who seem to be getting to grips with the movie medium; Michael Wilding and Leslie Banks almost disappear into the scenery. Keep an eye out for the superbly offhand portrayal of a postman by somebody who evidently had better things he wanted to be doing. If there's nothing else to watch, Cottage to Let is well-made enough to keep your attention, but the pace is very slow. Curiosity value for George Cole and Alistair Sim at the beginning of their glorious film partnership. A shame mainstream British filmmakers took so long to get over their obsession with winning WWII.

Cottage to Let (1941) There are so many characters, so many tinges of British accent, and such a parade of turncoats and double agents it's difficult to quite follow everything here. But stick it out. Or, in the extreme case (which I admit taking) see it twice. It's "quite worth it, I dare say." A comedy on the surface, and quite funny all through, it's also a serious war movie, shot and released in the thick of World War II. The key theme is actually not the bomb sight design and the attempt by the government to protect its secret from spies. It's about loose lips. And looking for traitors among us. So, here at this cottage near where a top scientist is working on a secret weapon idea, there is a parade of suspicious characters, and I mean characters, including the redoubtable Alastair Sim. There is a nutty family running the place, a couple of love affairs in the air, a bunch of secret messages sent by various messengers. I count rough twelve characters who matter, and if some are very minor, they are critical in some small way to the outcome. Allegiances are everything. What makes the movie actually remarkable is that it holds to together so well. And it has a tight economy to the editing, and a fluidity to the filming, that keeps it really going. For some reason the lighting in the first half, and the interior scenes in general, is bright and flat (no Warner Bros. influence here I guess) but then there are some scenes later that are extraordinary in their dramatic atmosphere. In fact, there are some ideas that prefigure famous later ones, like the auction that is interrupted by spies and good guys by bidding incorrectly, stolen by Hitchcock in "North by Northwest." Or even the ending which is a slim version of the mirror shootout by Welles in "Lady from Shanghai." It's quite an exciting finish (never mind the goofy millstone moment, which you'll see). Anthony Asquith, the director, went on to make some mainstays of post-war British cinema, and that's yet another reason to appreciate this, as a precursor to his own work. But it also reveals a real intelligence for the movies. Evident and appreciated. In the big view, it isn't the plot, which is necessarily contrived to give a message to the nation, but the many pieces, and the writing and acting in those pieces, that make the movie really strong. The one version out there (streaming on Netflix) is a weak print (and there is no DVD release, apparently) so the sound and even the richness of the visuals will hamper a good appreciation. Even so, give it a look. Alertly.

This all-too busy spy drama is a mixture of clever comedy and patriotic propaganda, as Nazi's are discovered in the oddest of places. Characters assumed to be bad are actually good, and vice versa. Certain other loyalties are revealed to be up in the air. Sometimes it is all a bit too much, but there's plenty of intrigue to keep you hooked. At times, it is a bit all over the map as to where it is going and what the script is talking about, but then the excitement starts up again, and you are back on the right road. This really hits its mark in the last five minutes when the villain finds himself cornered and manages to outwit pretty much everybody around them. Almost Hitchcock-like in nature, there is a fine cast of British acting vets, lead by Leslie Banks, John Mills and most notably, Alastair Sim in a way which you won't expect to see him. A fast- talking kid also deserves a lot of credit, giving a performance that seems so natural you would think that the producers just grabbed some teenager off the street and threw a script into his hand.