The Card (1952)

Yes, agreed, this is a light-hearted, feel-good film. Events roll pleasantly along, and Guinness crashes through the class barrier using a wily prudence and opportunism.The problem is, Guinness is always Guinness. That works delightfully in "The Ladykillers" and "The Lavender Hill Mob." Not so much in "The Card." Guinness' constant, somewhat smug semi-smirk gives Denry more of an air of cynicism than suits the general purpose of this movie.The casting director should've hauled George Cole into this role. Cole was twenty-seven in 1952. He would've brought the proper note of innocence/cleverness/playful joy into Denry.By the way, the author of the book this film is based on, Arnold Bennett, gave Denry his own birthdate, and was also a rent-collector for a time (while in the employ of his father).

This is a decent film--not a great one. But, because it has such lovely acting, I was able to overlook the fact that the writing could have been a bit better. After all, compared to other Alec Guinness films this one is pretty ordinary--but it's STILL an Alec Guinness film--which says a lot.Guinness plays a humble clerk who through a lot of drive, determination and conniving, he's able to quickly get ahead in life. He isn't necessarily a bad man--just an amazing opportunist--sort of like a British version of "How to Succeed in Business Without Even Trying" set around 1900...but with less comedy. In fact, the lack of comedy is the film's weakest point. While it has a few droll moments, the film lacked the dark humor of Guinness' best (such as "The Lavender Hill Mob", "The Man in the White Suit" and "Kind Hearts and Coronets"). Instead, it's kind of cute, a tad funny and just a bit clever.While I am not a huge fan of Glynnis Johns (mostly due to her voice--which limited her range), here she is at her best. I think this is because her character is VERY deep--she's certainly not who you initially think she is and she is probably the funniest thing in the film.Overall, enjoyable and a must-see for any fan of Alec Guinness. However, if you aren't a fan, try watching some of the films I mentioned above first--they are a bit better.

Alec Guinness' reputation as a serious actor tends to overshadow the subtle but deftly comic early work he was involved in, even when the films themselves (especially his handful of Ealing classics) are highly-regarded. This was another fine (and reasonably popular) vehicle for him in which he plays a go-getter(!) who uses his wits – and the helping hand lent him by Fate – to rise the ranks in British society from a washer-woman's son to, ultimately, Mayor of his town. In this respect, the film reminded me of two similar efforts i.e. NOTHING BUT THE BEST (1964) and THE RISE AND RISE OF MICHAEL RIMMER (1970) – which I owned but had not yet checked out (and which I then promptly opted to include in my ongoing Christmas schedule); of course, thematically, it is not unlike Ealing's own KIND HEARTS AND CORONETS (1949; in which Guinness had memorably played eight murder victims)...but the approach here is altogether more genteel and nostalgic (even if there are a few undeniable belly-laughs along the way), thus lacking the pointed satirical barbs which distinguished the earlier (and later) films. Anyway, the star delivers an entirely disarming performance and the film – augmented by its charming period setting – proves a most delightful concoction. He is abetted besides by three splendid leading ladies in Glynis Johns (surprisingly playing haughty), Valerie Hobson (obviously aristocratic, her feathers apparently not even unruffled by a pratfall!) and Petula Clark (not yet the chart-topping singer and, tackling the role of a commoner, is naturally Guinness' eventual choice of partner). Foremost among the supporting cast, then, is Edward Chapman – later a stooge in many a Norman Wisdom comedy – as Guinness' disgruntled former employer, but several other familiar faces crop up throughout (Peter Copley, Michael Hordern, Wilfrid Hyde-White, Frank Pettingell, etc). For the record, this was the first of four appearances by the star in films directed by Neame (apart from two the latter had produced for David Lean); of these, the only one I have yet to watch is another comedy, THE HORSE'S MOUTH (1958), which I might as well get to now rather than later...

The Card must have been an interesting if somewhat painful film for Alec Guinness to make. This might have been the most autobiographical piece of work Guinness ever did.In The Card Guinness plays the son of washerwoman who learned early on to keep an eye out for the main chance and always strive to improve yourself by whatever means. In real life Guinness's mother should only have been a washerwoman In fact she was a prostitute who never married his father, whomever that could have been. In real life Guinness overcame bigger obstacles than his character in The Card ever did.But I'm sure he drew from real life in playing Denny Machin. Guinness in 91 minutes goes from a humble clerk to a position of real power in his area of England. The story is how he did it, the legal and extralegal methods employed and the people he used. When you think about it, The Card is a kinder, gentler version of Room At The Top.Guinness courts two women on his way up, Valerie Hobson the widow of a local lord and dancing instructor Glynis Johns. Glynis is quite the climber herself as we learn when the story unfolds. In fact she nearly steals the film from Guinness, no easy task.The Card which was released in the USA under the title of The Promoter is a good followup to such other Guinness everyman roles like he had in The Lavendar Hill Mob. The screenplay is quite good, I was kept very entertained seeing how Guinness could always make lemonade out of lemons. Definitely required viewing for Alec Guinness's legion of fans.