Britain's usually thought of as the runt of the power countries in film history. Its cinematic output trails, by a wide margin, the CVs of America, France, Russia, and Japan. There was the Kitchen Sink movement of the late 1950s, which was incendiary in its way, but before that, British films tended to fit their country's stiff-upper-lip stereotype. Which is what makes 1943's The Life and Death of Colonel Blimp all the more surprising: England's greatest film ever, it turns out, is an emotional epic.
It's pretty rare that two filmmakers co-direct, co-write, and co-produce—or, at least, share a title card saying that do—but so it went with Michael Powell and Emeric Pressburger, close friends who dubbed themselves The Archers. The British Powell directed; his Hungarian partner, Pressburger, wrote; both produced. Pressburger's scripts tend to be almost novelistic in scope, with myriad turns and characters from earlier portions returning for later bits, but with a feeling of order and concision.* Needed honing came courtesy of Powell's camera, a peppy traveler with a penchant for wonder and a bardic soul. All of this means that The Life and Death of Colonel Blimp is especially suited for its new release from Criterion on Blu-ray, a transfer that might be the sharpest the company has done yet.
The plot ought not to work as well as it does, considering its range, but Pressburger knew how to cram a lot of story into a short amount of space through subtle layering, making it feel almost like several films have been superimposed into one. The movie is tripartite in structure, with an intro and a reprise—with fresh parts—as a coda. The titular fellow would have been familiar to all Brits as the subject of a popular cartoon strip. But this Blimp—a.k.a., Major General Clive Wynne-Candy, played by Roger Livesey—is a long way from the funny pages, even if his younger self likes a good joke.
We first see him as an old man, doing training exercises in WWII-era London, and being upstaged by a Johnny-come-lately officer. Then we journey back to the turn of the century, courtesy of a tracking shot across the waters of a Turkish bath that knits the present to the past. On leave from the Boer War, Candy, as just about everyone refers to him, goes to Berlin to try and put a halt to anti-British propaganda. There he meets Deborah Kerr's Edith Hunter, a fellow Brit, and ends up fighting a duel against a man he has never met. Said man—Theo, played by Anton Walbrook—and Candy convalesce in the same nursing home after carving each other up, and become close friends. That's even though Theo announces his engagement, in broken English, to Edith, the woman that Candy loves.
The build-up to the duel is both comical and terrifying in its detail, but when it's time for the rapiers to start flying, Powell's camera simply up and leaves through the roof of gymnasium where we have sat in so much expectation. You don't need to see this, it seems to say. Let me take you over here to what is more important. The blows do not matter; not physical blows, at least. But emotional ones—and recoveries from them—are why Blimp remains cinema's most convincing testament to friendship.
A middle sequence plays out against a backdrop of World War I. There is a falling out between the two men over cultural divides, divides made all the more pronounced in wartime. Candy meets a nurse, also played by Kerr, and seeing in her the woman his best friend married, he makes her his wife. Come the third part of the tableaux, she has died, Edith has died, Theo is an alien in England in the Second World War, and Candy has been axed from service, though he does have a driver who looks suspiciously like—yep, you guessed it, there's Deborah Kerr again.