As a big fan of a lot of David Lean's films (not seen a bad film from him so far, though understandably some of his films are not for all tastes), Hobson's Choice didn't at all disappoint. It's one of those films that is almost on par with his very best work, and is deserving of more credit than it gets.
The cinematography is splendidly grimy and almost hypnotic, with very sumptuous but also suitably gritty costumes and sets and atmospheric lighting, and Lean directs with supreme confidence and tight control, allowing the humour to endear and charm rather than get too heavy-footed. While slightly over-the-top on occasions (though never distractingly so), Malcolm Arnold's score is delightful and fits within the film and period well. Hobson's Choice is superbly scripted, the comedy dialogue is deliciously witty and never got less than a smile from me while watching, while the more dramatic parts are very poignantly done with Maggie and Willie's relationship being written and portrayed with a real tenderness.
Hobson's Choice's story always captivates and never for me got tedious. It was funny, charming and sometimes moving, and has one of Lean's and Laughton's most unforgettable moments where Hobson puzzles over the disappearance of the reflection of the Moon from the puddles he staggers past on his way home, it is such a beautifully filmed, acted and directed scene with perfectly pitched timing. It is superbly acted by the three leads too, with Charles Laughton's magnificent performance being one of the best of his whole career in a role tailor- made for him (this is how to make such a huge impression without dominating over the story too much, a mistake made with Hitchcock's Jamaica Inn that felt like The Charles Laughton Show, with a lot of over-acting, and not enough of Hitchcock or Daphne Du Maurier's styles coming through).
On paper, Brenda De Bazie's shouldn't have been that sympathetic, but De Bazie's acting is so good, headstrong and heartfelt, that she often was the character I identified with most. John Mills, in an unusual role for him, gives a performance worthy of being called the best of his collaborations with Lean, there are a good number of layers more than any of his other characters in a Lean film and Mills conveys all those layers beautifully. All the cast are spot-on, in a cast that sees Prunella Scales in an early role, but it's the leads and Lean's direction that will be remembered chiefly with this film.
Overall, a simply splendid film on all counts. 9.5/10 Bethany Cox
The cinematography is splendidly grimy and almost hypnotic, with very sumptuous but also suitably gritty costumes and sets and atmospheric lighting, and Lean directs with supreme confidence and tight control, allowing the humour to endear and charm rather than get too heavy-footed. While slightly over-the-top on occasions (though never distractingly so), Malcolm Arnold's score is delightful and fits within the film and period well. Hobson's Choice is superbly scripted, the comedy dialogue is deliciously witty and never got less than a smile from me while watching, while the more dramatic parts are very poignantly done with Maggie and Willie's relationship being written and portrayed with a real tenderness.
Hobson's Choice's story always captivates and never for me got tedious. It was funny, charming and sometimes moving, and has one of Lean's and Laughton's most unforgettable moments where Hobson puzzles over the disappearance of the reflection of the Moon from the puddles he staggers past on his way home, it is such a beautifully filmed, acted and directed scene with perfectly pitched timing. It is superbly acted by the three leads too, with Charles Laughton's magnificent performance being one of the best of his whole career in a role tailor- made for him (this is how to make such a huge impression without dominating over the story too much, a mistake made with Hitchcock's Jamaica Inn that felt like The Charles Laughton Show, with a lot of over-acting, and not enough of Hitchcock or Daphne Du Maurier's styles coming through).
On paper, Brenda De Bazie's shouldn't have been that sympathetic, but De Bazie's acting is so good, headstrong and heartfelt, that she often was the character I identified with most. John Mills, in an unusual role for him, gives a performance worthy of being called the best of his collaborations with Lean, there are a good number of layers more than any of his other characters in a Lean film and Mills conveys all those layers beautifully. All the cast are spot-on, in a cast that sees Prunella Scales in an early role, but it's the leads and Lean's direction that will be remembered chiefly with this film.
Overall, a simply splendid film on all counts. 9.5/10 Bethany Cox