Movie Review #73
Kind Hearts and Coronets (1949)
Directed by Robert Hamer
Written by Robert Hamer & John Dighton
Based on the novel Israel Rank by Roy Horniman
Rating: 9.50/10.00 or ****
Kind Hearts and Coronets was my third choice for the feature of the night in the movie club I have joined. It happened to be on during TCM's "Summer Under the Stars" day-long look at the works starring Alec Guinness, the acting everyman of the 20th century. Guinness was known for his roles but not for his appearance. Indeed, before the emergence of Star Wars in 1977, Guinness would not have been recognized by a majority of people. Part of this was due to his choice of roles, which were generally quiet and composed. His range in roles was significant, however. From spies to criminals to royalty to military servicemen, Guinness enjoyed an enormous diversity of characters to portray. A lot of his roles required heavy make-up, and often Guinness would be unrecognizable in his films. But Guinness undoubtedly had screen presence. He is wonderful as the severely misguided prisoner-of-war in The Bridge on the River Kwai. His supporting role in Lawrence of Arabia is riveting, and his masterful subtlety in Doctor Zhivago alleviates the film from mere mediocrity. In this film, Guinness takes on the monumental task of eight roles (albeit all of them brief). And, as usual, Guinness succeeds with professionalism, style, and amazing intelligence.
I was ecstatic with the choice I made. Kind Hearts and Coronets is one of the best comedies ever made, a film that defines the phrase "dry humor". The dialogue is bitingly satirical, ironic, and wickedly cunning. The plot is well-conceived and impressively presented. Kind Hearts and Coronets features a lot of voiceover, but it is necessary for the story's unfolding. In fact, this movie may have the best use of voiceover that I have ever heard.
The story of Kind Hearts and Coronets is deliciously sinister. Louis Mazzini (Dennis Price) is the son of Mama Louisa (Audrey Fildes). Louisa is a daughter of royalty. She is disowned by the family (the D'Ascoynes) when she runs off with a relatively poor Italian musician. He happens to die on the day of Louis's birth. When Louisa pleads to her father (the Duke) for aid, she is coldly ignored. When Louis had grown, Louisa told him his family history and hoped that he would somehow become the Duke one day.
She eventually dies. Her last wish is to be buried in the family vault, but the D'Ascoynes once again deny her. Louis, bitter about the poor treatment of his mother, promises revenge on the family. His plan is to fulfill his mother's wish and become the royal leader after killing the current Duke and all of his heirs. All of these people happen to be played by Alec Guinness, whose performances probably made Peter Sellers proud. Guinness gives distinction to each of his roles. Common to his performances are subtlety, quietness, and naivete. These three characteristics are important, as each character's premature death is all the funnier because of these traits.
The methods of death are complex and often had me in stitches. The first murder was especially humorous, as Louis kills one heir by releasing a canoe's anchor and watching D'Ascoyne and his mistress float down the river into a menacing waterfall. As the two are passionately kissing, they silently float to and through the waterfall. Louis narrates: "I was sorry about the girl, but found some relief in the reflection that she had presumably during the weekend already undergone a fate worse than death."
The second murder is equally as funny, all the more so because of our distance from the murder. Louis had "befriended" young Henry and his wife Edith (Valerie Hobson). Louis carefully plans young Henry's murder and is talking to Edith when the plan unfolds. We see Edith talking calmly when a muted bang is heard followed by smoke rising a decent distance behind her. The scene is hysterical, such a clever presentation. Louis investigates the smoke with the clever quip: "Needless to say, I was too late."
Other murders are equally funny. Louis decides upon the Parson next with the following words: "I had not forgotten or forgiven the boredom of the sermon of young Henry's funeral, and I decided to promote the Reverend Lord Henry D'Ascoyne to next place on the list." And then Lady Agatha: "I shot an arrow in the air; she fell to earth in Berkeley Square." Or even the Duke himself: "From here, I think, the wound will be consistent with the story I shall tell."
The movie has an effective parallel story that shows in a different and more dramatic light how off-the-handle Louis is. Louis is in love with Sibella (Joan Greenwood), a girl he has loved since his youth. But Sibella is not impressed with Louis's life, and she marries the richer Lionel (John Penrose). Lionel is a bore to Sibella, however, and she continues to see Louis. But Louis has taken an interest in Edith, the rich, sophisticated, responsible wife of the late young Henry. This love triangle is all the more complicated since Louis seems to always be interested in the person he is not with at the time.
The love interests of Louis show his conflicting opinions of people and society. Louis despises the snobbery of the rich social class, but he has an uncontrollable urge to be a part of it (After all, he murders eight people to become Duke). Furthermore, he at times admires the sophistication, especially of the trusting and intelligent Edith. But his love for Sibella clouds his judgment, especially when around Edith. He has a raw desire for Sibella, who seems beautiful and innocent to the troubled man.
Of course, all of this is glazed over by biting satire and an aloofness that borders insanity. This is key to the film's success. All of the murders generally take place off screen or are at least quick and mostly painless. Most of the murders are described with or via voiceover. We do not get long sequences focusing on the victims, so the murders do not seem as sinister. And, the motives of most of the D'Ascoynes are not exactly gleaming with genuineness. I say these things because the material is most certainly dark, but it is presented with such a detached style of humor that its material is overshadowed by the comedic wit this film contains.
The performances in the film also help. Guinness is astounding as the doomed victims. His performances never overshadow the focus of the film; there is not one shred of overacting. Valerie Hobson is wonderfully plastic and yet subtlely vulnerable as the widowed Edith. Joan Greenwood is superb as the shallow and cunning Sibella, whose motives become more malicious with time. And Dennis Price is perfect as Louis. This is Price's film, and he performs tremendously.
Kind Hearts and Coronets ends well. It ends the way it should. The ending is quick (though not abrupt), subtle, and yet potent. It's the genuine "gotcha" that a film of this caliber deserves. Kind Hearts and Coronets can be described in a lot of ways. It is sarcastic, wicked, brutal, unflinching, and hysterically funny. And brilliant.