When it comes to comedy, my favourite source is fast becoming the Ealing Studios films of the late 1940s and 1950s. The British have a certain down-to-earth and somewhat-warped sense of humour, and 'The Ladykillers' is the most excellent example I've yet come across. The first Ealing movie filmed in technicolour, and the final effort of director Alexander Mackendrick ('The Man in the White Suit,' 'Whisky Galore!') before he moved to Hollywood, 'The Ladykillers' is a delightfully black crime caper of murder and betrayal, the darkest comedy since Charles Chaplin turned wife-killer in 'Monsieur Verdoux (1947)' {interestingly, the working title of the latter was "The Ladykiller"}. In the urban jungle of post-War London, a gang of five criminals headed by the evil mastermind, Professor Marcus (Alec Guinness) plan the theft of £60,000, masquerading as a rehearsing string quintet to fool their sweet, proper and slightly senile old landlord (Katie Johnson). After a seemingly-successful heist, the old woman happens upon the stolen "lolly," and her confused mind, not quite comprehending the gravity of her situation, insists that the men return the money. Fearing that she will bring their entire plan crumbling down, the five conspirators agree that the death of old Mrs. Wilberforce is an unavoidable necessity, and yet none of them can quite bring themselves to do it.
Above all else, what makes 'The Ladykillers' such a classic is its impeccable casting. Alec Guinness is almost unrecognisable as Professor Marcus, with the brilliant actor somehow finding a perfect balance of polite gentleman, calculating genius and cackling mad-man. The remainder of the criminal team comprises of the polite and civil Major Courtney (Cecil Parker), a no-nonsense foreign gangster (Herbert Lom), a child-like muscle-man with a warm heart (Danny Green) and an impatient Cockney Teddy boy (Peter Sellers, in one of his first major roles). Of course, the limelight is arguably stolen by the delightful Katie Johnson as the sweet, well-meaning grandmother who unknowingly resists all attempts to have her killed. Johnson, aged around 80 years at the time, won a BAFTA for her role, and plays her character with such warmth and innocence that you can't comprehend how anybody could even entertain the notion of knocking her off. The contrast and conflict between all the main characters provides the film's wacky core, and each man's inability to carry out the homicide leads to numerous thefts, betrayals and murders. Writer William Rose (and an uncredited Jimmy O'Connor) engineered the Oscar-nominated screenplay, the idea for which reportedly came to Rose in a dream.
Mackendrick certainly had an inimitable style of comedy, and various little film-making quirks make 'The Ladykillers' particularly unique and memorable. Most of the violence is implied off-screen, and I absolutely loved the use of the approaching trains to signal that something unsavoury was about to take place. The blinding cloud of steam that accompanied each passing locomotive not only served to shield the audience from any unwanted violence, but also created a stifling atmosphere of the dreaded unknown; after all, the most unsettling thing is that which we can't see. In 2004, the talented Coen brothers attempted a remake of this black comedy classic, starring Tom Hanks, which was decent enough but ultimately disappointing. It makes you think: when two of Hollywood's greatest modern minds can't even come close to this Ealing gem, it really does allow you to appreciate what an outstanding cinematic achievement it was.
Above all else, what makes 'The Ladykillers' such a classic is its impeccable casting. Alec Guinness is almost unrecognisable as Professor Marcus, with the brilliant actor somehow finding a perfect balance of polite gentleman, calculating genius and cackling mad-man. The remainder of the criminal team comprises of the polite and civil Major Courtney (Cecil Parker), a no-nonsense foreign gangster (Herbert Lom), a child-like muscle-man with a warm heart (Danny Green) and an impatient Cockney Teddy boy (Peter Sellers, in one of his first major roles). Of course, the limelight is arguably stolen by the delightful Katie Johnson as the sweet, well-meaning grandmother who unknowingly resists all attempts to have her killed. Johnson, aged around 80 years at the time, won a BAFTA for her role, and plays her character with such warmth and innocence that you can't comprehend how anybody could even entertain the notion of knocking her off. The contrast and conflict between all the main characters provides the film's wacky core, and each man's inability to carry out the homicide leads to numerous thefts, betrayals and murders. Writer William Rose (and an uncredited Jimmy O'Connor) engineered the Oscar-nominated screenplay, the idea for which reportedly came to Rose in a dream.
Mackendrick certainly had an inimitable style of comedy, and various little film-making quirks make 'The Ladykillers' particularly unique and memorable. Most of the violence is implied off-screen, and I absolutely loved the use of the approaching trains to signal that something unsavoury was about to take place. The blinding cloud of steam that accompanied each passing locomotive not only served to shield the audience from any unwanted violence, but also created a stifling atmosphere of the dreaded unknown; after all, the most unsettling thing is that which we can't see. In 2004, the talented Coen brothers attempted a remake of this black comedy classic, starring Tom Hanks, which was decent enough but ultimately disappointing. It makes you think: when two of Hollywood's greatest modern minds can't even come close to this Ealing gem, it really does allow you to appreciate what an outstanding cinematic achievement it was.