The Gentle Gunman (Vintage Classics) [Blu-ray] [2022]

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The Gentle Gunman should also be commended for its balanced and fairly realistic characterisations. For what still remains an incredibly divisive topic, the film remains remarkably sympathetic to its characters (and their arguments) on both sides of the political discourse. Interestingly, it is the most obviously English character who comes off the worst, portrayed as both pompous and narrow minded (this is perhaps explained by the fact that this character is played by Gilbert Harding, a man who had no love for the British Empire). You can't exactly criticise John Mills' and Dirk Bogarde's Irish accents here because they didn't even bother to try, both sounding as English as ever, which is pretty distracting to say the least—perhaps it's for the best… Dirk Bogarde and John Mills deliver fairly engaging performances (although both are let down by some rather ropey Irish accents, with Mill’s attempt especially bad, seemingly taking in a tour around the British Isles by way of Belfast). While both actors were big names at the time, Bogarde’s role certainly plays second fiddle to John Mill’s more commanding and dominant older brother. In fact, Bogarde’s performance in The Gentle Gunman feels rather restrained, his character coming across as ineffectual and subdued for most of the running time, certainly standing in marked contrast to his more violent and belligerent turn in The Blue Lamp. Robert Beatty, playing committed IRA commander Shinto, arguably makes the biggest impression out of the central three characters, playing his role with a steely sense of cold determination.

The Gentle Gunman is a 1952 British drama film directed by Basil Dearden and starring John Mills, Dirk Bogarde and Elizabeth Sellars. The film is based on a 1950 play of the same title by Roger MacDougall [1] that was televised by the BBC in September 1950. [2] It was produced by Ealing Studios. The film's sets were designed by the art director Jim Morahan. The Gentle Gunman will be released on both Blu Ray and DVD on 7th March. Newly restored for this edition, The Gentle Gunman simply looks glorious. Deep inky contrast (the scene in the rain looks particularly impressive) combined with a beautifully crisp and sharp picture, make it seem as if the film could have been shot yesterday. Sound is likewise clean and clear. Altogether this is a beautiful restoration. The film benefits from fine cinematography and production design with a film noir atmosphere that is sustained…

The fact that, in 1952, this opens with an explicit parallel between Germany's invasive territory-grabbing in WWII and that of Britain in Ireland is quite something. While not an example of any of the participants’ finest works, The Gentle Gunman is still a compelling film. The acting performances bring a passion and warmth which makes us care about the sympathetic characters, and somewhat pity and despise their rivals. Basil Dearden brings us the intensity that the subject demands. And while this film may not accurately represent the Irish conflict, nor add any context that we couldn’t find elsewhere, it is somewhat sympathetic to both sides. It allows points of view to breathe, and also to overlap, as in life. The main attraction here is the conversation between critics Matthew Sweet and Phoung Le. Recorded as a Zoom conversation, this half hour chat covers a wide variety of subject matter, from the film’s awkward accents all the way through to its politics. It may feel fairly short, but this offers a great deal of interesting facts, context and analysis in its short running time. Released in 1952 and starring two of the biggest box-office British actors of the time – John Mills and Dirk Bogarde – The Gentle Gunman is about the Irish Republican Army, and more specifically the “S-Plan” campaign (the “S” stood for sabotage) that it ran on the British mainland from early 1939 until mid-1940, to try to force the government to end the partition of Ulster. The film, based on a play of the same name by the Scottish dramatist Roger MacDougall – which had already been shown on BBC Television in 1950 – is laced with moral ambiguity, though the viewer might well question just how likely it was that such feelings would exist in a real terrorist of the type shown in the film.

A lesser-known gem is crime thriller The Gentle Gunman, based on the stage play by Roger McDougall ( The Man in The White Suit, The Bells Go Down) and starring two titans of post-War British cinema: John Mills and Dirk Bogarde. Did you see them? If not, many of their locations are here on Reel Streets, and if they are not yet discovered, can you help us find them? John Mills’ earnest goodness, repentance and determination shine through here, giving the film its heart. At moments when the IRA indignation and call-to-arms could feel a little heavy-handed–at least by today’s standards–Mills balances things out. It isn’t just his character’s opposing views, but the truth in his performance, that is so compelling.Despite The Gentle Gunman’s admirable attempt at balanced rather than shallow characterisation, as well as the thrilling direction, things aren’t always perfect. As a drama, the film does stumble occasionally, nowhere more so than in the final moments, which sees the culmination of the previous 80 or so minutes conclude with a weak puff rather than with a dramatic punch. It means that is hard to recommend The Gentle Gunman on its dramatic chops alone, with the film ultimately feeling, despite Dearden’s best efforts, like a bit of a damp squib as the credits roll. The relationship between brothers Terry and Matt, both active in the IRA, comes under strain when Terry begins to question the use of violence. Show full synopsis

It's of the well-produced quality that we came to expect of the Basil Dearden/Michael Relph directing/producing team - crisp photography, great Irish locations, some exciting set-pieces, memorable character acting in support of a story that is made to motor along effectively. Unfortunately the script's origins as a stage play betray… Basil Dearden enjoyed a long and successful relationship with Ealing Studios, both producing and directing many of their best-loved films of the 1940s and 50s. John Mills, Dirk Bogarde and Robert Beatty are near perfection together in this Basil Dearden film about two Irish brothers working for the I.R.A. in Britain during WWII. Mills is the older brother with a conscience, having been around long enough to become aware of the real costs of the conflict. Bogarde is younger, more idealistic and pragmatic, determined to support the cause while suppressing occasional misgivings. Beatty carries the weight of leadership, often coming across as ruthless in his determination. Also noteworthy is Barbara Mullen's performance as the mother who has had to endure the loss of her husband and eldest son.September 25, 2023 , Paul Devine , No Comment Win Delightful Animation Mavka: The Forest Song on DVD Terry, though, is now a wanted man – wanted by his former comrades, who intend to execute him for his “treachery”: and they are led by a truly unpleasant fanatic, Shinto, played by Robert Beatty. The Sullivans’ mother also hates the IRA, since her husband and another son have already died after their involvement with the organisation.

Although its boss, Michael Balcon, could be a mild autocrat, Ealing Studios took a democratic approach to the content of its films. When most higher-budget British films were about royalty, the nobility, toffs or (at worst) the middle classes, Balcon’s arrival at Ealing in 1938, and the war in 1939, saw the “ordinary” man become central to the studio’s output. Toffs became confined to romantic costume dramas, such as 1948’s Saraband for Dead Lovers (about George I’s wife, and one of the studio’s least successful films), or, the following year, the magnificent Kind Hearts and Coronets, an extravaganza of such decadence and depravity that Balcon, and indeed many viewers, did not understand quite how decadent and depraved it was. October 8, 2023 , Bradley Hadcroft , No Comment Grimmfest 2023 – Film Review – AUXILIO – The Power of Sin (2023) The newly restored transfer looks amazing. All the burning, powerful looks and subtle but meaningful gestures pop out of the screen. This adds amply to the essence and effect of the film compared to the older transfer I had previously seen. The VerdictBasil Dearden’s Ealing drama. John Mills and Dirk Bogarde play brothers and IRA members with diametrically opposed views of mounting an IRA campaign of violence in London during World War II. In-between these grander moments, Dearden and MacDougall ensure that the film never stagnates during its quieter, more character focused interludes, with Dearden continuously helped by Gordon Dines’ bold cinematography. The fact that the film utilises so many real locations, from urban streets to countryside roads, only adds to the visceral thrill. October 30, 2023 , Joel Fisher , No Comment Pigeon Shrine Halloween Frightfest Film Review – Maria (2023) The opening ten minutes are a perfect case in point, which sees Bogarde’s Matt attempt to plant a bomb on the London Underground, with thrillingly tense results. Utilising sharp, taut cutting, dutch angles and striking cinematography, Dearden steers the film with almost note perfect precision. It isn’t long before Dearden throws more impressive set pieces at his audience. A botched gunfight in a down pour feels particularly grim and noirish, while a late stage shootout feels just as thrilling and tense as any action set piece from today.