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{{Distinguish|text = the 1921 historical novel by ]}}
{{short description|1943 film by Leslie Arliss}} {{short description|1943 film by Leslie Arliss}}
{{other uses}}
{{EngvarB|date=September 2013}} {{EngvarB|date=September 2013}}
{{Use dmy dates|date=September 2013}} {{Use dmy dates|date=September 2024}}
{{Infobox film {{Infobox film
| name = The Man in Grey | name = The Man in Grey
| image = Man in Grey.jpg | image = Themaningrey1943.jpg
| caption = Video cover art | caption = Film poster
| director = ] | director = ]
| producer = ] | producer = ]
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| country = United Kingdom | country = United Kingdom
| language = English | language = English
| budget = £90,000<ref name="budget">{{cite book|url=https://books.google.com/books?id=xtGIAgAAQBAJ&q=%22ted+black%22+producer&pg=PA34|title=Realism and Tinsel: Cinema and Society in Britain 1939–48|author=Robert Murphy|date=2 September 2003|page=55|isbn=9781134901500}}</ref> or £95,000<ref name="kw">{{cite magazine|magazine=Kinematograph Weekly|date=19 April 1945}}</ref> | budget = £90,000<ref name="budget">{{cite book|url=https://books.google.com/books?id=xtGIAgAAQBAJ&q=%22ted+black%22+producer&pg=PA34|title=Realism and Tinsel: Cinema and Society in Britain 1939–48|author=Robert Murphy|date=2 September 2003|page=55|isbn=9781134901500}}</ref><ref name="andy">{{cite web|url=https://historyproject.org.uk/interview/adrian-andy-worker|website=British Entertainment History Project|title=Interview Andy Worker|first=Roy|last=Fowler|date=19 August 1988}}</ref> or £95,000<ref name="kw">{{cite magazine|magazine=Kinematograph Weekly|date=19 April 1945}}</ref>
| gross = over £300,000 (UK)<ref>{{cite news |url=http://nla.gov.au/nla.news-article17953022 |title=Actor's Views May Bring Ban. |newspaper=] |date=13 September 1945 |accessdate=4 March 2013 |page=2 |via=National Library of Australia}}</ref><br>1,138,145 admissions (France)<ref name="box"> at Box office story</ref> | gross = over £300,000 (UK)<ref>{{cite news |url=http://nla.gov.au/nla.news-article17953022 |title=Actor's Views May Bring Ban. |newspaper=] |date=13 September 1945 |accessdate=4 March 2013 |page=2 |via=National Library of Australia}}</ref><br>1,138,145 admissions (France)<ref name="box"> at Box office story</ref>
}} }}


'''''The Man in Grey''''' is a 1943 British film ] made by ]; it is considered to be the first of a series of period costume dramas now known as the "]". It was directed by ] and produced by ] from a screenplay by Arliss and Margaret Kennedy that was adapted by Doreen Montgomery from the 1941 novel '']'' by ]. The film's sets were designed by ]. '''''The Man in Grey''''' is a 1943 British ] made by ]; it is considered to be the first of a series of period costume dramas now known as the "]". It was directed by ] and produced by ] from a screenplay by Arliss and Margaret Kennedy that was adapted by Doreen Montgomery from the 1941 novel '']'' by ]. The film's sets were designed by ].<ref name="edward">{{cite magazine|magazine=Filmink|url=https://www.filmink.com.au/forgotten-british-film-moguls-ted-black/|first=Stephen|last=Vagg|date=1 December 2024|access-date=1 December 2024|title=Forgotten British Film Moguls: Ted Black}}</ref>


The picture stars ], ], ], ] and ]. It melds elements of the successful "]" of the time with distinctive new elements. The picture stars ], ], ], ] and ]. It melds elements of the successful "]" of the time with distinctive new elements.


==Plot== ==Plot==
In ] in ], a ] (]) and an ] pilot (]) meet at an auction of the Rohan estate, now being sold off because the last male heir died at ]. The gems of the auction are two portraits, one of the 8th Marquis of Rohan, known as The Man in Grey, and one of his wife, Clarissa, a famous Regency beauty, with their son.Trying to make conversation with the Wren, the pilot wonders what the Rohans did to deserve all this wealth, then shows her a ring with the family crest. He bids on a Georgian trinket box that belonged to Clarissa, Marquess of Rohan, a gift for his mother, who believes that an ancestor received the ring from his beloved Clarissa. The auction pauses; they agree to return the next day. He is Peter Rokeby. The auctioneer addresses her as Lady Clarissa Rohan, the last of the line. They look over the contents of the box: a fan, a snuff box, a sewing kit, a wooden toy, and a prospectus for Miss Patchett's Establishment for young ladies in Bath. As they leave, the camera zooms in on the paper, then dissolves to a snowman and a bevy of elegant young ladies of long ago—throwing snowballs. In ] ], a ], Lady Clarissa Rohan (]) and an ] pilot, Peter Rokeby (]), meet at an auction of the Rohan estate, now being sold off. Making idle conversation, the pilot wonders what the Rohans did to deserve all this wealth. The auction is suddenly paused due to blackout restrictions, and the two agree to return the next day. As they leave, the film flashes back to the early 1800s, and Miss Patchett's finishing school for young ladies. A naive but popular girl, Clarissa (]), insists on being friends with a proud, bitter junior teacher, Hesther Shaw (]), despite a fortuneteller's warning not to trust women, especially Hesther. Months later, Hesther runs away with a penniless ]. Miss Patchett forbids mention of her name by her young charges. Resentfully, Clarissa leaves the school out of loyalty to Hesther. Upon her return home, Clarissa's godmother arranges her marriage to the wealthy Marquess of Rohan (]), a notorious rake who wishes only to have an heir. Thus, the two live separate lives.


One night, Clarissa rushes to a production of '']'' in which Hesther plays ]. On the way, her coach is waylaid by a mysterious man, Rokeby (]), who turns out to be the actor playing Othello. He demands a lift to the theater. After the play, Clarissa engages Hesther to be her son's governess. Eventually Lord Rohan invites Hesther to stay on as Clarissa's companion. Rohan tells Hesther that he knows she abandoned her husband, who later died in ]. He admires her ruthless ambition, and they become lovers. At ], Clarissa and Rokeby meet again. They encounter the same fortuneteller who warned Clarissa about Hesther. This time, the prophetess recognizes Rokeby as Clarissa's true love and warns her again about dangerous women. Later, Rokeby confesses his love to Clarissa. They plan to elope to Jamaica, but Rohan confronts them in ], and they fight. The contest, however, is stopped by the Prince Regent (]).
Hesther Shaw (]) arrives, in mourning. As a kindness to Hesther's impoverished stepmother, Miss Patchett will prepare her to be a teacher. Hesther is proud and bitter. She resents charity and even kindness. The naive and much-loved Clarissa (]) insists on being friends. A fortuneteller tells Clarissa of a prosperous future beside a man in grey, but says that love will come from across the sea. She warns her not to trust women, and refuses to say what she sees in Hesther's hand.


Rokeby decides it would be wiser to sail to Jamaica alone and summon Clarissa later. She bids him farewell at the port. But once Rokeby has departed, she falls ill and is taken to Rohan's London house. Hesther drugs Clarissa, opens the windows on a storm, and damps the fire—ensuring her death. Later, Clarissa's faithful page, Toby, reveals all to Rohan. Though he did not love her, Clarissa was his wife and a Rohan, so he beats Hesther to death with a cane, fulfilling the family motto, "Who Dishonours Us, Dies." Flash-forward to 1943. Peter and Clarissa, descendants of their earlier counterparts, are seen departing the auction, hand in hand. They run to catch a ] and their future together.
Months later, Hesther runs away with a penniless ]. Miss Patchett forbids mention of her name, and Clarissa, out of loyalty to her friend, leaves the school.

In London, Clarissa's godmother arranges for her to meet the “man in grey” (after his grey clothes), the wealthy Marquess of Rohan (]), a notorious rake, misanthrope and duelist. He marries her to get an heir, and they live separate lives.

One night, Clarissa rushes to a production of ] in ], rightly believing that Hesther is playing ]. Her coach is waylaid by a mysterious man (]) who needs a ride. He turns out to be Rokeby, the actor playing Othello. Clarissa invites Hesther to supper after the play and, moved by her sad story, promises to engage her as her son's governess. Lord Rohan invites Hesther to stay on as Clarissa's companion, instead.

Rohan tells Hesther that he knows that she abandoned her husband and left him to die in ]. He admires her ruthless ambition, and they become lovers.

At the ] races and fair, Clarissa and Rokeby meet again. He wins the bird toy. They see the fortuneteller, who recognizes Rokeby as Clarissa's future and warns her again about dangerous women.  

Hesther offers Rokeby a position as Rohan's librarian. Rokeby perceives Hesther's plotting, but eventually confesses his love to Clarissa. They plan to elope to Jamaica, where Rokeby will regain his plantation. Rohan confronts them in ], and the ensuing duel is stopped by the Prince Regent. Mrs. Fitzherbert persuades Rokeby to embark alone and wait for Clarissa's friends to insist on a separation. Clarissa pursues him to the port to say farewell. She takes his snuffbox as a memento. She is supposed to take refuge with Lady Marr, but she falls ill and is taken to Rohan's London house. Hesther drugs Clarissa, opens the windows on a storm and damps the fire—ensuring her death.

Rohan agrees to marry Hesther, but Clarissa's faithful page boy, Toby, reveals all to Rohan. Though he did not love her, Clarissa was his wife and a Rohan—so he beats Hesther to death with a cane, again fulfilling the family motto, "Who Dishonours Us, Dies."

In 1943, Peter and Clarissa are too late to buy the box, but they do not care. Hand in hand, they run toward a London bus and the future.


==Cast== ==Cast==
Line 55: Line 41:
* ] ... Lord Rohan * ] ... Lord Rohan
* ] ... Rokeby (19th century, and present day) * ] ... Rokeby (19th century, and present day)
* Antony Scott (as Harry Scott) ... Toby * Antony Scott (as Harry Scott, in ]) ... Toby
* ] ... Miss Patchett * ] ... Miss Patchett
* ] ... Lady Rohan * ] ... Lady Rohan
* ] ... Gipsy * ] ... Gipsy
* ] ... ] * ] ... ]
* ] ... ] * ] ... ]


==Production== ==Original novel==
⚫ The novel was published in 1941. ''The New York Times'' thought it was old fashioned but enjoyed the depiction of the era saying it created a "lively scene for a sad story."<ref>{{cite news|title=The Bored Beauty: THE MAN IN GREY. By Lady Eleanor Smith. New York: Doubleday, Doran & Co. $2.50|author=Dean, Charlotte|work=The New York Times|date=1 March 1942|page=BR24}}</ref> The book was a best seller in the US, selling more than 100,000 copies in 1942.<ref>{{cite news|title=BOOKS: 43 Books Top 100,000 Mark in 1942 Sales |author=Butcher, Fanny|work=Chicago Daily Tribune|date=30 December 1942|page=14}}</ref>


It is unclear who suggested the book to Gainsborough – James Mason felt it might have been ] but he was unsure. He said the Ostrer brothers were very enthusiastic about it writing "we must concede to them this one victory in the production field".<ref name="Mason p 185">Mason p 185</ref>
===Original novel===
⚫ The novel was published in 1941. The ''New York Times'' thought it was old fashioned but enjoyed the depiction of the era saying it created a "lively scene for a sad story."<ref>{{cite news|title=The Bored Beauty: THE MAN IN GREY. By Lady Eleanor Smith. New York: Doubleday, Doran & Co. $2.50|author=Dean, Charlotte|work=New York Times|date=Mar 1, 1942|page=BR24}}</ref> The book was a best seller in the US, selling more than 100,000 copies in 1942.<ref>{{cite news|title=BOOKS: 43 Books Top 100,000 Mark in 1942 Sales |author=Butcher, Fanny|work=Chicago Daily Tribune|date=Dec 30, 1942|page=14}}</ref>


===Casting=== ==Casting==
Margaret Lockwood later wrote that when she heard about the project, she read the novel and thought she would be ideal for the role of Clarissa. She was not pleased to be cast as Hesther, writing in her memoirs, "true, I had played that unpleasant little piece in ''The Stars Look Down'' after many misgivings. But Hesther was a different matter. She was downright wicked."<ref name="lock">{{cite book|first=Margaret|last=Lockwood|title=Lucky Star: The Autobiography of Margaret Lockwood|publisher=Odhams Press Limited|year=1955|page=98}}</ref> She says she was persuaded by ]'s advice to not "bother about the number of pages in a part, but think about the motivation." Lockwood "didn't like the motivation - but it was a 'meaty' part."<ref name="lock"/> Margaret Lockwood later wrote that when she heard about the project, she read the novel and thought she would be ideal for the role of Clarissa. She was not pleased to be cast as Hesther, writing in her memoirs, "true, I had played that unpleasant little piece in ''The Stars Look Down'' after many misgivings. But Hesther was a different matter. She was downright wicked."<ref name="lock">{{cite book|first=Margaret|last=Lockwood|title=Lucky Star: The Autobiography of Margaret Lockwood|publisher=Odhams Press Limited|year=1955|page=98}}</ref> She says she was persuaded by ]'s advice to not "bother about the number of pages in a part, but think about the motivation." Lockwood "didn't like the motivation – but it was a 'meaty' part."<ref name="lock"/>


Lockwood's biographer says Phyllis Calvert originally wanted to play Hesther.<ref>Tims p 114</ref>
⚫ Lockwood says that James Mason's role was originally offered to ] who turned it down.<ref>{{cite book|url=https://books.google.com/books?id=zCm5aNkafSYC&q=%22ted+black%22+producer&pg=PA155|title=America's Best, Britain's Finest: A Survey of Mixed Movies|author=John Howard Reid|date=March 2006|page=154|isbn=9781411678774}}</ref> The climax was graphic for its time with Mason's brutal beating of Lockwood's cowering villainess using his walking stick.


⚫ Lockwood says that James Mason's role was originally offered to ] who turned it down.<ref>{{cite book|url=https://books.google.com/books?id=zCm5aNkafSYC&q=%22ted+black%22+producer&pg=PA155|title=America's Best, Britain's Finest: A Survey of Mixed Movies|author=John Howard Reid|date=March 2006|page=154|isbn=9781411678774}}</ref> Her biographer says second choice ] did not want to make the film and James Mason was third choice.<ref>Tims p 115</ref>

In order to play the role, Mason agreed to make an extra five pictures for Gainsborough (he wound up making only three due to the studio's failure to exercise an option in time for the other two). He later wrote:
<blockquote>My willingness to sign a multiple contract, which is highly distasteful to me, was earnest of my own faith in the commercial potential of Lady Eleanor Smith’s novel. There was nothing about it that I could actually bring myself to like, and I had no clue about how I could do anything with a part so monstrously nasty as that of Lord Rohan. I allowed myself to be beaten by the problem at the outset.<ref name="Mason p 185"/></blockquote>
Lockwood was the only one of the four leads to be a star when the film was made. She told a journalist at the time: Lockwood was the only one of the four leads to be a star when the film was made. She told a journalist at the time:
<blockquote>It is a part Hollywood would have given to a star like ]. I intend... to 'give it a go.' Its Regency settings are away from the war. It has plenty of emotional, dramatic quality, yet it calls for subtlety. It is a role I can handle well under English direction, for British studios don't concentrate on glamorising stars to such an extent that they become camera-conscious, thinking only of whether they are at the right angle to the camera.<ref>{{cite news |url=http://nla.gov.au/nla.news-article46446972 |title=MARGARET IS ON HER METTLE |newspaper=] |volume=10 |issue=22 |date=31 October 1942 |accessdate=1 May 2016 |page=11 (Movie World) |via=National Library of Australia}}</ref></blockquote> <blockquote>It is a part Hollywood would have given to a star like ]. I intend... to 'give it a go.' Its Regency settings are away from the war. It has plenty of emotional, dramatic quality, yet it calls for subtlety. It is a role I can handle well under English direction, for British studios don't concentrate on glamorising stars to such an extent that they become camera-conscious, thinking only of whether they are at the right angle to the camera.<ref>{{cite news |url=http://nla.gov.au/nla.news-article46446972 |title=MARGARET IS ON HER METTLE |newspaper=] |volume=10 |issue=22 |date=31 October 1942 |accessdate=1 May 2016 |page=11 (Movie World) |via=National Library of Australia}}</ref></blockquote>
Line 78: Line 68:
Lockwood said "as I watched him walk nervously across the set I knew instinctively he would get the part.. He was rather an extraordinary young man in those days. He had what seemed to be an enormous inferiority complex, which came out sometimes in a flow of bad language, and at other times in round abuse of everybody, because he hadn't done his piece as well as we wanted."<ref name="lock"/> Lockwood said "as I watched him walk nervously across the set I knew instinctively he would get the part.. He was rather an extraordinary young man in those days. He had what seemed to be an enormous inferiority complex, which came out sometimes in a flow of bad language, and at other times in round abuse of everybody, because he hadn't done his piece as well as we wanted."<ref name="lock"/>


According to Maurice Carter, the art director Wally Mutton had a confrontation with the studio about the set being ready in time and left the film. Carter took over, although he did not accept credit.<ref>{{cite web|url=https://historyproject.org.uk/interview/maurice-carter|website=British Entertainment history Project|title=Maurice Carter|date=1990–1991}}</ref>
⚫ ===Shooting===
⚫ The film was shot in Gainsborough Studios. Phyllis Calvert was pregnant during filming.<ref>Lockwood p 99</ref>


⚫ ===Shooting===
Phyllis Calvert later said Leslie Arliss was "not at all" responsible for the eventual success of the film:
⚫ The film was shot in Gainsborough Studios. Phyllis Calvert was pregnant during filming.<ref>Lockwood p 99</ref> She later said Leslie Arliss was "not at all" responsible for the eventual success of the film:
<blockquote>He was a lazy director; he had got a wonderful job there and he just sat back... Ted Black was the one who would watch it, cut it, and know exactly what the audience would take. I don't say he wanted to do really good films, but he knew where the money was and he made all those escapist films during the war.<ref name="brian"/></blockquote> <blockquote>He was a lazy director; he had got a wonderful job there and he just sat back... Ted Black was the one who would watch it, cut it, and know exactly what the audience would take. I don't say he wanted to do really good films, but he knew where the money was and he made all those escapist films during the war.<ref name="brian"/></blockquote>
According to Calvert, one time Arliss was late for a scene between Calvert and Granger so they directed themselves, and "Arlissing about" became a "Gainsborough byword for slackness."<ref>{{cite news|title=Film: For love? Hell no, I did it for money Frustrated by the British studios, Phyllis Calvert went to Hollywood. What followed was even worse|edition=FOREIGN|author=Sweet, Matthew|work=The Independent|location=London (UK)|date=Feb 25, 2000|page=12}}</ref> According to Calvert, one time Arliss was late for a scene between Calvert and Granger so they directed themselves, and "Arlissing about" became a "Gainsborough byword for slackness."<ref>{{cite news|title=Film: For love? Hell no, I did it for money Frustrated by the British studios, Phyllis Calvert went to Hollywood. What followed was even worse|edition=Foreign|author=Sweet, Matthew|work=The Independent|location=London (UK)|date=25 February 2000|page=12}}</ref>


James Mason had clashed with Leslie Arliss on a previous film and this tempestuous relationship continued while making ''Man in Grey''. Mason wrote:
⚫ James Mason later described his performance as "atrocious".<ref>{{cite news |url=http://nla.gov.au/nla.news-article47503987 |title=James Mason is not really tough— but will always be a rebel |newspaper=] |volume=13 |issue=49 |date=18 May 1946 |accessdate=12 April 2016 |page=13 |via=National Library of Australia}}</ref>
<blockquote>We just could not get along with each other. Angered by my own inability to cope, I wallowed in a stupidly black mood throughout and since my own imagination had contributed nothing to the Lord Rohan who appeared on the screen, I have to conclude that only my permanent aggravation gave the character colour and made it some sort of a memorable thing. The extraordinary success of the film made me even more cross, since I could claim none of the credit. During this period I was making a bad name for myself, partly because I was a compulsive tease and partly because my experience with producers had made me regard them as natural enemies.<ref name="Mason p 185"/></blockquote>
⚫ James Mason later described his performance as "atrocious".<ref>{{cite news |url=http://nla.gov.au/nla.news-article47503987 |title=James Mason is not really tough— but will always be a rebel |newspaper=] |volume=13 |issue=49 |date=18 May 1946 |accessdate=12 April 2016 |page=13 |via=National Library of Australia}}</ref>


==Reception== ==Reception==


===Box office=== ===Box office===
The film was a massive hit in the UK, turning the four lead actors into stars.<ref>{{cite news|title=GAUMONT-BRITISH PICTURE: INCREASED TAKINGS AND COSTS|work=The Scotsman|location=Edinburgh, Scotland|date=Nov 15, 1944|page=2}}</ref> Phyllis Calvert later recalled it "had two West End premieres. It had one premiere, got terrible notices, went through the provinces and made so much money that it had to come back to London."<ref name="brian">Brian MacFarlane, ''An Autobiography of British Cinema'', Methuen 1997 p 110</ref> The film was a massive hit in the UK, turning the four lead actors into stars.<ref>{{cite news|title=GAUMONT-BRITISH PICTURE: INCREASED TAKINGS AND COSTS|work=The Scotsman|location=Edinburgh, Scotland|date=15 November 1944|page=2}}</ref> Phyllis Calvert later recalled it "had two West End premieres. It had one premiere, got terrible notices, went through the provinces and made so much money that it had to come back to London."<ref name="brian">Brian MacFarlane, ''An Autobiography of British Cinema'', Methuen 1997 p 110</ref>


It was the seventh most popular movie at the British box office in 1943.<ref></ref> According to ''Kinematograph Weekly'' it came after ''In Which We Serve'', ''Casablanca'', ''The Life and Death of Colonel Blimp'', ''Hello Frisco Hello'' and ''The Black Swan''<ref>{{cite book|page=231|title=Blackout : reinventing women for wartime British cinema|last=Lant|first= Antonia|year=1991 |publisher=Princeton University Press }}</ref> It was the seventh most popular movie at the British box office in 1943.<ref></ref> According to ''Kinematograph Weekly'' it came after ''In Which We Serve'', ''Casablanca'', ''The Life and Death of Colonel Blimp'', ''Hello Frisco Hello'' and ''The Black Swan''<ref>{{cite book|page=231|title=Blackout : reinventing women for wartime British cinema|last=Lant|first= Antonia|year=1991 |publisher=Princeton University Press }}</ref>


It was the tenth most seen movie of the year in Australia.<ref>{{cite news |url=http://nla.gov.au/nla.news-article55937363 |title=News About Movies. |newspaper=] |location=Adelaide |date=12 January 1946 |accessdate=4 March 2013 |page=8 |via=National Library of Australia}}</ref> The movie was also successful when released in France in 1945<ref name="box"/> and in Germany.<ref>{{cite news|title=LONDON LETTER|work=The Irish Times|location=Dublin, Ireland|date=Nov 28, 1946|page=5}}</ref> It was the tenth most seen movie of the year in Australia.<ref>{{cite news |url=http://nla.gov.au/nla.news-article55937363 |title=News About Movies. |newspaper=] |location=Adelaide |date=12 January 1946 |accessdate=4 March 2013 |page=8 |via=National Library of Australia}}</ref> The movie was also successful when released in France in 1945<ref name="box"/> and in Germany.<ref>{{cite news|title=London Letter|newspaper=The Irish Times|location=Dublin, Ireland|date=28 November 1946|page=5}}</ref>


In 1946 readers of the ''Daily Mail'' voted it their second most favourite British film of 1939–45.<ref>{{cite news |url=http://nla.gov.au/nla.news-article50337935 |title=BRITISH POLL. |newspaper=] |location=Perth |date=26 April 1946 |accessdate=4 March 2013 |page=13 |via=National Library of Australia}}</ref> In 1946 readers of the ''Daily Mail'' voted it their second most favourite British film of 1939–45.<ref>{{cite news |url=http://nla.gov.au/nla.news-article50337935 |title=British Poll. |newspaper=] |location=Perth |date=26 April 1946 |accessdate=4 March 2013 |page=13 |via=National Library of Australia}}</ref>


] wrote that it was "easy to see why" the film was so well received: ] wrote that it was "easy to see why" the film was so well received:
<blockquote>It caught the national mood quite brilliantly, by fusing elements of previously successful "women's pictures" such as '']'' (US, d. ], 1940), '']'' (d. ], 1940) and of course '']'' (US, d. ], 1939) with a surprisingly distinctive formula of its own, blending authentic star appeal (James Mason, Margaret Lockwood, Phyllis Calvert, the then newcomer Stewart Granger) with a plot whose novelettish surface concealed an intricate labyrinth of contrasts and doublings: good against evil, obedience against rebellion, male against female and class against class. The ingredients of virtually all the subsequent Gainsborough melodramas can be clearly seen taking root here.<ref> at ]</ref></blockquote> <blockquote>It caught the national mood quite brilliantly, by fusing elements of previously successful "women's pictures" such as '']'' (US, d. ], 1940), '']'' (d. ], 1940) and of course '']'' (US, d. ], 1939) with a surprisingly distinctive formula of its own, blending authentic star appeal (James Mason, Margaret Lockwood, Phyllis Calvert, the then newcomer Stewart Granger) with a plot whose novelettish surface concealed an intricate labyrinth of contrasts and doublings: good against evil, obedience against rebellion, male against female and class against class. The ingredients of virtually all the subsequent Gainsborough melodramas can be clearly seen taking root here.<ref> at ]</ref></blockquote>
The movie was one of several films from the Rank organisation released in the United States by Universal. It was not as popular in the United States. The movie was one of several films from the Rank organisation released in the United States by Universal. It was not as popular in the United States.


===Critical=== ===Critical===
The ''Monthly Film Bulletin'' called the film " an elaborately produced version of Lady Eleanor Smith's novel, which, while good entertainment, is not outstanding, except in so far as it shows a British studio's competence to make this type of lavish literary production which hitherto only Hollywood has been able to do with consistent success. Acting, settings, camerawork, and direction all reach the highest technical standards."<ref> in ]</ref> The ''Monthly Film Bulletin'' called the film " an elaborately produced version of Lady Eleanor Smith's novel, which, while good entertainment, is not outstanding, except in so far as it shows a British studio's competence to make this type of lavish literary production which hitherto only Hollywood has been able to do with consistent success. Acting, settings, camerawork, and direction all reach the highest technical standards."<ref> in ]</ref>

''Filmink'' says "t was all done with intensity, conviction and flair and completely worked on its own trashy, melodramatic level... Lockwood, a delightful ingenue in comedies and thrillers and competent actor in drama, turned out to be a superb villainess in melodrama, all flaring nostrils, heaving cleavage and intense stares."<ref name="vagg">{{cite magazine|first=Stephen|last=Vagg|magazine=Filmink|title=Why Stars Stop Being Stars: Margaret Lockwood|date=January 29, 2020|url=https://www.filmink.com.au/stars-stop-stars-margaret-lockwood/}}</ref>


==References== ==References==
;Notes ;Notes
{{Reflist}} {{Reflist}}

;Bibliography ==Bibliography==
*{{cite book|title=Before I forget : autobiography and drawings|last=Masonfirst= James|year=1989 |publisher=Sphere| isbn=9780722157633 |url=https://archive.org/details/beforeiforgetaut0000maso/page/190/mode/1up?q=arliss}}
* Jerry Vermilye ''The Great British Films'', Citadel Press, 1978, pp69–71 {{ISBN|0-8065-0661-X}} * Jerry Vermilye ''The Great British Films'', Citadel Press, 1978, pp69–71 {{ISBN|0-8065-0661-X}}
*{{cite book|title= Once a wicked lady : a biography of Margaret Lockwood|last=Tims|first= Hilton|year=1989|publisher=W.H. Allen}}


==External links== ==External links==
* {{IMDb title|0036135}} * {{IMDb title|0036135}}
* {{tcmdb title|id=82633}} * {{TCMDb title|id=82633}}
* {{amg movie|31175}}
* at BFI Screen Online * at BFI Screen Online
* at Films de France * at Films de France
Line 127: Line 119:
{{Leslie Arliss}} {{Leslie Arliss}}


{{DEFAULTSORT:Man In Grey, The}} {{DEFAULTSORT:Man in Grey, The}}
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Latest revision as of 00:54, 31 December 2024

1943 film by Leslie Arliss For other uses, see The Man in Grey (disambiguation).

The Man in Grey
Film poster
Directed byLeslie Arliss
Written byMargaret Kennedy
Doreen Montgomery
Leslie Arliss
Based onThe Man in Grey
1941 novel
by Eleanor Smith
Produced byEdward Black
StarringMargaret Lockwood
James Mason
Phyllis Calvert
Stewart Granger
CinematographyArthur Crabtree
Edited byR. E. Dearing
Music byCedric Mallabey
Production
company		Gainsborough Pictures
Distributed byGFD
Release date
  • 23 August 1943 (1943-08-23)
Running time116 minutes
CountryUnited Kingdom
LanguageEnglish
Budget£90,000 or £95,000
Box officeover £300,000 (UK)
1,138,145 admissions (France)

The Man in Grey is a 1943 British melodrama film made by Gainsborough Pictures; it is considered to be the first of a series of period costume dramas now known as the "Gainsborough melodramas". It was directed by Leslie Arliss and produced by Edward Black from a screenplay by Arliss and Margaret Kennedy that was adapted by Doreen Montgomery from the 1941 novel The Man in Grey by Eleanor Smith. The film's sets were designed by Walter Murton.

The picture stars Margaret Lockwood, Phyllis Calvert, James Mason, Stewart Granger and Martita Hunt. It melds elements of the successful "women's pictures" of the time with distinctive new elements.

Plot

In 1943 London, a Wren, Lady Clarissa Rohan (Phyllis Calvert) and an RAF pilot, Peter Rokeby (Stewart Granger), meet at an auction of the Rohan estate, now being sold off. Making idle conversation, the pilot wonders what the Rohans did to deserve all this wealth. The auction is suddenly paused due to blackout restrictions, and the two agree to return the next day. As they leave, the film flashes back to the early 1800s, and Miss Patchett's finishing school for young ladies. A naive but popular girl, Clarissa (Phyllis Calvert), insists on being friends with a proud, bitter junior teacher, Hesther Shaw (Margaret Lockwood), despite a fortuneteller's warning not to trust women, especially Hesther. Months later, Hesther runs away with a penniless ensign. Miss Patchett forbids mention of her name by her young charges. Resentfully, Clarissa leaves the school out of loyalty to Hesther. Upon her return home, Clarissa's godmother arranges her marriage to the wealthy Marquess of Rohan (James Mason), a notorious rake who wishes only to have an heir. Thus, the two live separate lives.

One night, Clarissa rushes to a production of Othello in which Hesther plays Desdemona. On the way, her coach is waylaid by a mysterious man, Rokeby (Stewart Granger), who turns out to be the actor playing Othello. He demands a lift to the theater. After the play, Clarissa engages Hesther to be her son's governess. Eventually Lord Rohan invites Hesther to stay on as Clarissa's companion. Rohan tells Hesther that he knows she abandoned her husband, who later died in Fleet Prison. He admires her ruthless ambition, and they become lovers. At Epsom Downs, Clarissa and Rokeby meet again. They encounter the same fortuneteller who warned Clarissa about Hesther. This time, the prophetess recognizes Rokeby as Clarissa's true love and warns her again about dangerous women. Later, Rokeby confesses his love to Clarissa. They plan to elope to Jamaica, but Rohan confronts them in Vauxhall Gardens, and they fight. The contest, however, is stopped by the Prince Regent (Raymond Lovell).

Rokeby decides it would be wiser to sail to Jamaica alone and summon Clarissa later. She bids him farewell at the port. But once Rokeby has departed, she falls ill and is taken to Rohan's London house. Hesther drugs Clarissa, opens the windows on a storm, and damps the fire—ensuring her death. Later, Clarissa's faithful page, Toby, reveals all to Rohan. Though he did not love her, Clarissa was his wife and a Rohan, so he beats Hesther to death with a cane, fulfilling the family motto, "Who Dishonours Us, Dies." Flash-forward to 1943. Peter and Clarissa, descendants of their earlier counterparts, are seen departing the auction, hand in hand. They run to catch a London bus and their future together.

Cast

Original novel

The novel was published in 1941. The New York Times thought it was old fashioned but enjoyed the depiction of the era saying it created a "lively scene for a sad story." The book was a best seller in the US, selling more than 100,000 copies in 1942.

It is unclear who suggested the book to Gainsborough – James Mason felt it might have been R.J. Minney but he was unsure. He said the Ostrer brothers were very enthusiastic about it writing "we must concede to them this one victory in the production field".

Casting

Margaret Lockwood later wrote that when she heard about the project, she read the novel and thought she would be ideal for the role of Clarissa. She was not pleased to be cast as Hesther, writing in her memoirs, "true, I had played that unpleasant little piece in The Stars Look Down after many misgivings. But Hesther was a different matter. She was downright wicked." She says she was persuaded by Carol Reed's advice to not "bother about the number of pages in a part, but think about the motivation." Lockwood "didn't like the motivation – but it was a 'meaty' part."

Lockwood's biographer says Phyllis Calvert originally wanted to play Hesther.

Lockwood says that James Mason's role was originally offered to Eric Portman who turned it down. Her biographer says second choice Robert Donat did not want to make the film and James Mason was third choice.

In order to play the role, Mason agreed to make an extra five pictures for Gainsborough (he wound up making only three due to the studio's failure to exercise an option in time for the other two). He later wrote:

My willingness to sign a multiple contract, which is highly distasteful to me, was earnest of my own faith in the commercial potential of Lady Eleanor Smith’s novel. There was nothing about it that I could actually bring myself to like, and I had no clue about how I could do anything with a part so monstrously nasty as that of Lord Rohan. I allowed myself to be beaten by the problem at the outset.

Lockwood was the only one of the four leads to be a star when the film was made. She told a journalist at the time:

It is a part Hollywood would have given to a star like Bette Davis. I intend... to 'give it a go.' Its Regency settings are away from the war. It has plenty of emotional, dramatic quality, yet it calls for subtlety. It is a role I can handle well under English direction, for British studios don't concentrate on glamorising stars to such an extent that they become camera-conscious, thinking only of whether they are at the right angle to the camera.

Lockwood said the second male lead was not cast "right up to the day before shooting began... lots of young men had been tried out, all unsuccessfully." Stewart Granger was appearing in a production of Rebecca on stage when he was called in to audition. He says he had been recommended to the producers by Robert Donat, with whom Granger had just appeared on stage in To Dream Again. Granger was the last of the four leads cast and was paid £1,000 for 12 weeks work. "I'd have played the part for nothing", he later wrote in his memoirs. "It was such a chance."

Lockwood said "as I watched him walk nervously across the set I knew instinctively he would get the part.. He was rather an extraordinary young man in those days. He had what seemed to be an enormous inferiority complex, which came out sometimes in a flow of bad language, and at other times in round abuse of everybody, because he hadn't done his piece as well as we wanted."

According to Maurice Carter, the art director Wally Mutton had a confrontation with the studio about the set being ready in time and left the film. Carter took over, although he did not accept credit.

Shooting

The film was shot in Gainsborough Studios. Phyllis Calvert was pregnant during filming. She later said Leslie Arliss was "not at all" responsible for the eventual success of the film:

He was a lazy director; he had got a wonderful job there and he just sat back... Ted Black was the one who would watch it, cut it, and know exactly what the audience would take. I don't say he wanted to do really good films, but he knew where the money was and he made all those escapist films during the war.

According to Calvert, one time Arliss was late for a scene between Calvert and Granger so they directed themselves, and "Arlissing about" became a "Gainsborough byword for slackness."

James Mason had clashed with Leslie Arliss on a previous film and this tempestuous relationship continued while making Man in Grey. Mason wrote:

We just could not get along with each other. Angered by my own inability to cope, I wallowed in a stupidly black mood throughout and since my own imagination had contributed nothing to the Lord Rohan who appeared on the screen, I have to conclude that only my permanent aggravation gave the character colour and made it some sort of a memorable thing. The extraordinary success of the film made me even more cross, since I could claim none of the credit. During this period I was making a bad name for myself, partly because I was a compulsive tease and partly because my experience with producers had made me regard them as natural enemies.

James Mason later described his performance as "atrocious".

Reception

Box office

The film was a massive hit in the UK, turning the four lead actors into stars. Phyllis Calvert later recalled it "had two West End premieres. It had one premiere, got terrible notices, went through the provinces and made so much money that it had to come back to London."

It was the seventh most popular movie at the British box office in 1943. According to Kinematograph Weekly it came after In Which We Serve, Casablanca, The Life and Death of Colonel Blimp, Hello Frisco Hello and The Black Swan

It was the tenth most seen movie of the year in Australia. The movie was also successful when released in France in 1945 and in Germany.

In 1946 readers of the Daily Mail voted it their second most favourite British film of 1939–45.

Screenonline wrote that it was "easy to see why" the film was so well received:

It caught the national mood quite brilliantly, by fusing elements of previously successful "women's pictures" such as Rebecca (US, d. Alfred Hitchcock, 1940), Gaslight (d. Thorold Dickinson, 1940) and of course Gone with the Wind (US, d. Victor Fleming, 1939) with a surprisingly distinctive formula of its own, blending authentic star appeal (James Mason, Margaret Lockwood, Phyllis Calvert, the then newcomer Stewart Granger) with a plot whose novelettish surface concealed an intricate labyrinth of contrasts and doublings: good against evil, obedience against rebellion, male against female and class against class. The ingredients of virtually all the subsequent Gainsborough melodramas can be clearly seen taking root here.

The movie was one of several films from the Rank organisation released in the United States by Universal. It was not as popular in the United States.

Critical

The Monthly Film Bulletin called the film " an elaborately produced version of Lady Eleanor Smith's novel, which, while good entertainment, is not outstanding, except in so far as it shows a British studio's competence to make this type of lavish literary production which hitherto only Hollywood has been able to do with consistent success. Acting, settings, camerawork, and direction all reach the highest technical standards."

References

Notes
  1. Robert Murphy (2 September 2003). Realism and Tinsel: Cinema and Society in Britain 1939–48. p. 55. ISBN 9781134901500.
  2. Fowler, Roy (19 August 1988). "Interview Andy Worker". British Entertainment History Project.
  3. Kinematograph Weekly. 19 April 1945. {{cite magazine}}: Missing or empty |title= (help)
  4. "Actor's Views May Bring Ban". The Sydney Morning Herald. 13 September 1945. p. 2. Retrieved 4 March 2013 – via National Library of Australia.
  5. ^ French box office in 1945 at Box office story
  6. Vagg, Stephen (1 December 2024). "Forgotten British Film Moguls: Ted Black". Filmink. Retrieved 1 December 2024.
  7. Dean, Charlotte (1 March 1942). "The Bored Beauty: THE MAN IN GREY. By Lady Eleanor Smith. New York: Doubleday, Doran & Co. $2.50". The New York Times. p. BR24.
  8. Butcher, Fanny (30 December 1942). "BOOKS: 43 Books Top 100,000 Mark in 1942 Sales". Chicago Daily Tribune. p. 14.
  9. ^ Mason p 185
  10. ^ Lockwood, Margaret (1955). Lucky Star: The Autobiography of Margaret Lockwood. Odhams Press Limited. p. 98.
  11. Tims p 114
  12. John Howard Reid (March 2006). America's Best, Britain's Finest: A Survey of Mixed Movies. p. 154. ISBN 9781411678774.
  13. Tims p 115
  14. "MARGARET IS ON HER METTLE". The Australian Women's Weekly. Vol. 10, no. 22. 31 October 1942. p. 11 (Movie World). Retrieved 1 May 2016 – via National Library of Australia.
  15. Stewart Granger, Sparks Fly Upward, Granada 1981 p 63
  16. "Maurice Carter". British Entertainment history Project. 1990–1991.
  17. Lockwood p 99
  18. ^ Brian MacFarlane, An Autobiography of British Cinema, Methuen 1997 p 110
  19. Sweet, Matthew (25 February 2000). "Film: For love? Hell no, I did it for money Frustrated by the British studios, Phyllis Calvert went to Hollywood. What followed was even worse". The Independent (Foreign ed.). London (UK). p. 12.
  20. "James Mason is not really tough— but will always be a rebel". The Australian Women's Weekly. Vol. 13, no. 49. 18 May 1946. p. 13. Retrieved 12 April 2016 – via National Library of Australia.
  21. "GAUMONT-BRITISH PICTURE: INCREASED TAKINGS AND COSTS". The Scotsman. Edinburgh, Scotland. 15 November 1944. p. 2.
  22. Robert Murphy, Realism and Tinsel: Cinema and Society in Britain 1939–48 2003 p 206
  23. Lant, Antonia (1991). Blackout : reinventing women for wartime British cinema. Princeton University Press. p. 231.
  24. "News About Movies". The Mail. Adelaide. 12 January 1946. p. 8. Retrieved 4 March 2013 – via National Library of Australia.
  25. "London Letter". The Irish Times. Dublin, Ireland. 28 November 1946. p. 5.
  26. "British Poll". The West Australian. Perth. 26 April 1946. p. 13. Retrieved 4 March 2013 – via National Library of Australia.
  27. "The Man in Grey" at BFI Screenonline
  28. Review in Monthly Film Bulletin

Bibliography

External links

Films produced by Gainsborough Pictures
"Gainsborough melodramas"
Other
Films directed by Leslie Arliss
Categories: