The Show Must Go On: The Entertainer (1960)

Archie Sign with Jean

Outside a theater in an English seaside town, an artist’s rendering of a grotesque face, massive in scale and positioned over the words “Archie Rice: The One and Only,” grins down at passersby. Scarcely anybody gives it even a moment’s glance, but one young woman, Jean (Joan Plowright), stops in the middle of the crowded sidewalk to gaze up at it. The expression on her face suggests a certain fondness for this strange figure, with perhaps the slightest touch of ambivalence. This ambivalence grows as she looks at the other promotional materials on display depicting the one and only Archie (Laurence Olivier) — no less grotesque in photographs than in drawings — posed with scantily-clad showgirls and proclaiming him “T.V. & Radio’s Sauciest Comic,” until she’s become downright glum. Obviously, Archie Rice is a public figure, but in private life he happens to be Jean’s father — and yet, different though they are in many ways, it’s not always easy to tell precisely where the public figure ends and the private man begins.

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Where a Decent Man Can Breathe Freely: 49th Parallel (1941)


“We are German!”

“Okay. Why yell about it? Moi, j’ai compris. You German. I’m Canadian, he Canadian and he Canadian.”

Johnnie (Laurence Olivier), a French Canadian trapper confronted by Nazi invaders, is making a simple statement of fact, but it also implies something more profound — something, perhaps, that these Nazis can’t even comprehend. After all, the other two Canadians to whom he’s referring are Albert (Finlay Currie), an older man with a Scottish accent, and Nick (Ley On), an Eskimo. Although the three of them may seem to have little in common on the surface, they’re united by the country in which they all live, and their diversity — their individuality — is a key part of that country’s strength.

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