Genevieve (1953)
Directed by Henry Cornelius

Comedy

Film Review

Abstract picture representing Genevieve (1953)
Genevieve is the most quintessential of British comedies, a quaint satire in which an Englishman's love of his motorcar takes precedence over any feelings he may have for a woman (and rightly so).  Whilst the film feels a little dated (and somewhat more slowly paced than other films featuring a car race - see for example The Fast Lady (1962)) it still has great entertainment value, thanks mainly to the ebullient performances from its four lead actors, headed by Kenneth More, one of the most popular British actors at the time.  Joyce Grenfell, the doyenne of British comedy, is a delight in her all too brief cameo appearance.

The film was directed with whimsical charm Henry Cornelius, who is is probably best known for his classic Ealing comedy Passport to Pimlico (1949).  Cornelius began his career working as an assistant editor on René Clair's The Ghost Goes West (1935) and, in the 1940s, he was a screenwriter and associate producer at Ealing on such films as Hue and Cry (1947).  He directed just five films before his premature death in 1958, and one of the best of these is his 1953 hit Genevieve.

The film's vibrant colour photography dispels the myth that England in the 1950s was remorselessly drab - going by this film, this decade was just as hard on the eyes as the psychedelic sixties.  Larry Adler provided the film's cheery but somewhat repetitive harmonica score.  Genevieve is vintage film comedy with a vintage cast, which has a particular appeal for any enthusiast of vintage cars.
© James Travers 2008
The above content is owned by frenchfilms.org and must not be copied.

Film Synopsis

Barrister Alan McKim has two passions in his life - his devoted wife Wendy and his 1904 Darracq roadster, Genevieve - and it isn't obvious which he loves most.  Every year, Alan enters Genevieve in the London to Brighton rally, and, each year, Wendy agrees to accompany him.  Alan's friend Ambrose Claverhouse also enters the rally, in his 1904 Spyker.  Ambrose gets to Brighton without any difficulty, aided by his new girlfriend Rosalind Peters, but Alan's car breaks down.  Alan's mood is not improved when he begins to suspect that, before she married him, Wendy had an affair with Ambrose.  In a fit of pique, he declares that Genevieve is a much better car than his friend's Spyker and bets £100 that he can make the return journey to London faster than Ambrose...
© James Travers
The above content is owned by frenchfilms.org and must not be copied.


Film Credits

  • Director: Henry Cornelius
  • Script: William Rose
  • Cinematographer: Christopher Challis
  • Music: Larry Adler
  • Cast: Dinah Sheridan (Wendy McKim), John Gregson (Alan McKim), Kay Kendall (Rosalind Peters), Kenneth More (Ambrose Claverhouse), Geoffrey Keen (Policeman), Reginald Beckwith (J. C. Callahan), Arthur Wontner (Old Gentleman), Joyce Grenfell (Hotel proprietress), Leslie Mitchell (Himself), Michael Balfour (Trumpeter), Joe E. Carr (Mechanic joey), Lesley Dudley (Little Girl), Stanley Escane (Film cameraman), Fred Griffiths (Ice Cream Seller), Charles Lamb (Publican), Arthur Lovegrove (Hotel Doorman), Edward Malin (Spectator), Edie Martin (Guest), Michael Medwin (Father to be), Harold Siddons (Policeman)
  • Country: UK
  • Language: English
  • Support: Color
  • Runtime: 86 min

The very best of the French New Wave
sb-img-14
A wave of fresh talent in the late 1950s, early 1960s brought about a dramatic renaissance in French cinema, placing the auteur at the core of France's 7th art.
The best French war films ever made
sb-img-6
For a nation that was badly scarred by both World Wars, is it so surprising that some of the most profound and poignant war films were made in France?
The best of American film noir
sb-img-9
In the 1940s, the shadowy, skewed visual style of 1920s German expressionism was taken up by directors of American thrillers and psychological dramas, creating that distinctive film noir look.
The Golden Age of French cinema
sb-img-11
Discover the best French films of the 1930s, a decade of cinematic delights...
The best of Japanese cinema
sb-img-21
The cinema of Japan is noteworthy for its purity, subtlety and visual impact. The films of Ozu, Mizoguchi and Kurosawa are sublime masterpieces of film poetry.
 

Other things to look at


Copyright © frenchfilms.org 1998-2024
All rights reserved



All content on this page is protected by copyright