Black Narcissus

Genuine classic from 1947, technicolour movie by Powell and Pressburger, cinematographer Jack Cardiff.
And it is Cardiff who is really the star here. We don't know enough about the production to say his exact input in the shots, but this is a film of place, of precipices and of backdrops. The Himalyan peaks and snowtops dominate the actors, the characters, nearly every scene. Characters are portrayed as being overawed, overcome by what is around them.
This applies to the central theme of repression. This is well shown by colour, where the deathly whites of the nuns are eventually overome by the surroundings of rich, deep, sensuous reds (even mirrored in the colour of the lens, in a particularly electrifying moment).
This film is slightly oddly paced and the script does not spark, but it is a film of images and for that it is hugely succesful. Could they have been exploited a little better? Impossible to say. Powell and Pressburger's near zero degree of direction style (save a few tricks in 'Hoffman', 'The Red Shoes', and this) is a style of filmaking that leaves one rather unfulfilled, wondering about the worth of the art as more than just a narrative. Rarely do they innovate on the mis-en-shot side, which leaves them open only to wonderful backdrops to choke off boredom and ennui. Luckily, at their best, they do this.
An excellent, beautiful film, which will stand up to rewatching (thanks to a stronger visual look than narrative approach) than most.

The Tales Of Hoffmann

Powell and Pressburger screen treatment of the Offenbach opera. An innovative use of various art forms and production design, it is a fascinating and very pleasant watch.
It looks very fine; the colour schemes and costumes fit well. Overall, this production can occasionally dissappear into confusion, but largely it remains well anchored in its Faust-esque story and with its high-faluttin' tales.
The actor playing Hoffman is excellent, and the singing (nearly all dubbed) certainly up to standard. As ever, Moira Shearer is excellent.
Taking up their own mantle from the great 'The Red Shoes', there is a smart use of montage and kaleidoscopic reptition. Largely, the camera does watch the ballet rather than become part of it. This film is at its best when the camera starts dancing too.
A difficult challenge, to have an opera and ballet on screen, but this comes out as a success.

They're A Weird Mob

Slightly dodgy Powell and Pressburger immigration tale. It hops along the narrative with a nice lightness, even if it is far from being actually funny. The lead is endearing enough.
It is cliche ridden but just about avoids becoming offensive. It is massively predictable. Not really worth the time, but reasonable enough.

The Battle Of The River Plate

Decent enough Powell and Pressburger, about the war.
It takes a rather dull while for there to be any story at all, but once one does come along there are some decent moments. Not a complete waste of time.

The Room

Another look at perhaps the worst film ever made.
Still great fun, great audience participation. We still remain undecided on whether it is deliberate, though the moments of non-humour suggests more and more it may be.
If you see a screening of this, get along, as it can only be really appreciated among others. In that situation, it's a great night out.

49th Parallel

Rather good bit of wartime propoganda from Powell and Pressburger.
As the Germans are knocked off we have nice scenes, with excellent performances from the greats like Olivier and Walbrook.
The narrative stance is really rather odd, following those we are meant to hate. Our attention in each scene is though drawn to our interlocurs rather than them (except as listeners). It is an interesting move to read the ideologies in everyday practices, and we would love to see such narrative structures repeated more.
The German characters don't particularly, with maybe three exceptions, stand out from one another, but the action, after a bit of a slow start, is kept moving well. It doesn't become too predicatble, throwing up a few surprises.
Good propoganda, good film.

A Matter Of Life And Death

Classic 1946 piece from Powell and Pressburger. Well told, with an impressive storyline, top notch performances and some interesting visuals and set dressing.
The story rattles along at a decent enough pace. The dual nature of it is nicely kept in the air. David Niven is particularly excellent, there are a few double-take bizarre scenes which suggests a kind of psychosexual underlay, but this all adds to the fun.
The scenes in 'heaven' really set the tone for much of how 'heaven' has been filmed, and are a fun change (as are the chats Niven has with the messenger). It's all a bit obvious, but reasonably moving all the same, especially the wonderful switching/shadow opening scene.
A fine watch.