Review: The Magic Box

The story of William Friese-Greene (Robert Donat), who began as an ambitious photographer experimenting with colours, before beginning his obsession with trying to invent motion pictures. Australian-born Margaret Johnston and Austrian-born Maria Schell (seemingly her first UK film) are the wives at various stages in his life, the latter is his beloved, sickly first wife, the former is his loving second wife who knows her husband means well even when he struggles to put food on the table and ultimately drives their children away.

Intended for the 1951 Festival of Britain, this John Boulting (the well-regarded, well-acted gangster pic “Brighton Rock”) biopic about a forgotten cinematic pioneer (whose role in the invention of motion pictures is still a controversial and much debated one), is a must-see for film buffs as it contains appearances by many of Britain’s working actors and stars of the time (apparently Sir Alec Guinness was the only one to turn down a role here). Some leave quite an impression, and the film works wonderfully as a fascinating and ultimately quite moving drama as well (something many disagree with me on, but it’s their loss). This is mostly due to the amazing, and quietly powerful performance by Donat, who gets my vote for the greatest actor who ever lived- sadly, not long enough. Like Monty Clift, Donat had a sensitivity and fragility to him at times, though he also had a lot more than that to work with, as well. Donat brings out the decency, and innate goodness in a characters whose drive to succeed at the expense of his family and his own health, might not have made him the nicest person in the world in the hands of a lesser talent. I don’t know how accurate the portrayal is, but Donat makes Friese-Greene into a mixture of obsessive-compulsive, ne’er do well, and underdog. It’s a mixture that helps the audience stay on his side and hope he finally succeeds through sacrifice and perseverance. He also effortlessly plays the man at various stages in his life, something that won’t surprise admirers of Donat’s Oscar-winning turn in “Goodbye Mr. Chips”.

Although many of the supporting cast are relegated to glorified cameos, a few do manage to stand out, with Glynis Johns, Joyce Grenfell, Miles Malleson (as a conductor), and the inimitable Margaret Rutherford being the best of the cameo players, stealing their every moment on screen. Lord Laurence Olivier of course is a part of the film’s most well-known scene playing a passing bobby. Stanley Holloway and Frederick Valk have funny roles as, respectively, a landlord and photography studio owner Mr. Guttenberg. Of the more substantial players, a sensitive and sweet Maria Schell is particularly moving as one of Friese-Greene’s wives.

Gorgeously shot in technicolour by cinematographer Jack Cardiff (“Black Narcissus”, “The Vikings”), too. Scripted by Eric Ambler (“The Cruel Sea”, “The October Man”, “Lease of Life”, “A Night to Remember”), from a book by Ray Allister, the film uses an unusual-for-the-time, non-linear flashback-heavy story structure. The film isn’t flawless, and for me the structure is more complicated than need be, and the narration strangely intermittent. It helps explain the character, but in execution it’s a touch sloppy Fascinating, beautiful, sad story about one of the (several) inventors of the moving picture camera, albeit one of the lesser-known names.

This is one not to be missed by cinephiles, or fans of British actors of yesteryear. For a film best-known for its stunt all-star casting, I think it’s a tremendously moving drama.

Rating: A