Very few remain who were adults in the 1930s. Even their children are now elderly so their notions of the period are impressions gained from that earlier generation - insufficient to re-create that period but able to recognize authenticity.
Bob Hoskins absolutely sparkles in his portrayal of the sexually passionate little guy song-salesman frustrated in his work and in his marriage to a prudish and modest wife (Gemma Craven, also a brilliant performance). Both had their careers launched by this peerless production. Extraordinary performance too from former comedian Dave King as the police inspector, desperately torn between his duty, working class respectability and the exquisite vulnerability of the exquisite Gemma Craven. Wonderful evocation of mean and depressing '30's Britain with its libidinous popular music and still prudish morality. It was a landmark production which brought out performances from the cast that many did not later equal.
Wherein was the genius? Firstly the peerless quality of the production. Secondly the casting, coaxing unmatched performances from the cast. Guess I'm in a minority in not so highly rating Dennis Potter as a writer. Potter's story provided a framework on which these things could reach a peak. I suspect he had a larger involvement than simply writer in "Pennies from Heaven" - the period feel was so sure-footed. But imagine a production with lesser talents in cast and direction etc. - what are you left with? The 1981 remake illustrates this.
The central striking idea of having leads dreamily miming to romantic ballads was earlier seen in the 1947 British film "It Always Rains on Sundays" - dreary lives brightened by dreamy music. What was the stuttering accordion player all about? The murder of the blind girl?
Potter was a former TV critic with an obsessional memory of his childhood in the 1940s in the Forest of Dean. The latter spawned Potter's unpretentious but brilliant semiautobigraphical "Blue Remembered Hills" TV film. His later productions became both more obscure and increasingly rooted the horrible disabling illness which gradually overcame him, and one suspected, his frustrated longing for female youth and beauty. The increasing obscurity of his later works were attempts to achieve "high art" - and Potter's reputation being what it was, who dared say otherwise?
I think he had a limited amount to say but when he wrote about his treasured memories, the honesty and authenticity made for productions which have become classics.
Bob Hoskins absolutely sparkles in his portrayal of the sexually passionate little guy song-salesman frustrated in his work and in his marriage to a prudish and modest wife (Gemma Craven, also a brilliant performance). Both had their careers launched by this peerless production. Extraordinary performance too from former comedian Dave King as the police inspector, desperately torn between his duty, working class respectability and the exquisite vulnerability of the exquisite Gemma Craven. Wonderful evocation of mean and depressing '30's Britain with its libidinous popular music and still prudish morality. It was a landmark production which brought out performances from the cast that many did not later equal.
Wherein was the genius? Firstly the peerless quality of the production. Secondly the casting, coaxing unmatched performances from the cast. Guess I'm in a minority in not so highly rating Dennis Potter as a writer. Potter's story provided a framework on which these things could reach a peak. I suspect he had a larger involvement than simply writer in "Pennies from Heaven" - the period feel was so sure-footed. But imagine a production with lesser talents in cast and direction etc. - what are you left with? The 1981 remake illustrates this.
The central striking idea of having leads dreamily miming to romantic ballads was earlier seen in the 1947 British film "It Always Rains on Sundays" - dreary lives brightened by dreamy music. What was the stuttering accordion player all about? The murder of the blind girl?
Potter was a former TV critic with an obsessional memory of his childhood in the 1940s in the Forest of Dean. The latter spawned Potter's unpretentious but brilliant semiautobigraphical "Blue Remembered Hills" TV film. His later productions became both more obscure and increasingly rooted the horrible disabling illness which gradually overcame him, and one suspected, his frustrated longing for female youth and beauty. The increasing obscurity of his later works were attempts to achieve "high art" - and Potter's reputation being what it was, who dared say otherwise?
I think he had a limited amount to say but when he wrote about his treasured memories, the honesty and authenticity made for productions which have become classics.