The Magic Box

The Magic Box is a 1951 British Technicolor biographical drama film directed by John Boulting. The film stars Robert Donat as William Friese-Greene, with numerous cameo appearances by performers such as Peter Ustinov and Laurence Olivier.
Produced by Ronald Neame and distributed by British Lion Film Corporation, the film was made as part of the Festival of Britain and adapted by Eric Ambler from a biography by Ray Allister.
The film presents a dramatized account of Friese-Greene's life, who was one of the earliest inventors to design and patent a working cinematic camera. Told largely in flashback, the story follows his passionate pursuit of motion picture technology and its impact on his financial stability and personal life.
The film begins in 1921, where British inventor William Friese-Greene, in severe financial distress, attends a London film industry conference. The story unfolds through a series of flashbacks.
The first is told from the perspective of Helena Friese-Greene, who recounts to a friend how she met "Willie". They marry and have four sons, but the family is continually plagued by financial difficulties due to his obsession with developing colour film. Their three eldest sons eventually lie about their ages to enlist in the army during the First World War. The persistent strain leads Helena to leave him.
Back in 1921, Friese-Greene is disheartened by the conference attendees, who appear interested only in the commercial aspects of filmmaking. When he tries to speak, he is ignored. He slips into a longer flashback reflecting on his early career.
In this extended flashback, young "Willie" works as assistant to photographer Maurice Guttenberg, who refuses to allow him creative freedom. After disagreeing over portrait techniques, he leaves to open his own studio with his new wife, Edith, a former client. Though initially successful with multiple studios, his interest shifts to developing moving pictures and colour processes, often at the expense of his profitable photography work.
He abandons his wife at a choir concert so he can visit photographic pioneer Fox Talbot, returning home elated from the meeting. Friese-Greene relocates to London and partners with businessman Arthur Collings to continue his film experiments. Although Collings initially supports him, the growing financial burden forces him to end the partnership. Friese-Greene mortgages his home to raise additional funds.
One Sunday, he skips church to film relatives in Hyde Park with his new camera. That night, he develops the footage and watches, entranced, as light flickers across the images.
Although Friese-Greene tells his wife they will soon be millionaires, he is declared bankrupt. Helena collapses in a side office at the court. A doctor advises a year of rest, but she secretly tears up the expensive prescription on the way home. She sells her jewellery to fund a new studio for her husband. On his birthday—forgotten by him—she gives him a prism, which he receives with joy.
Back at the 1921 conference, Friese-Greene rises again, clutching film reels. He declares cinema a "universal language" before collapsing mid-speech. A doctor arrives too late, finding only enough money in his pockets for a cinema ticket.
Half the budget was provided by the National Film Finance Corporation (NFFC). The film was made by Festival Film Productions, a semi co operative to which all major British film companies contributed their services either free or on a reduced rate basis.
The film was completed and shown just before the end of the 1951 Festival of Britain, but did not enter general release until 1952.
Writing in The New York Times, critic Bosley Crowther described The Magic Box as "a handsome exercise in pathos and sentiment", though he felt it lacked dramatic grounding or connection to significant historical events. He praised Robert Donat's performance as "superlative", comparing it favourably to his role in Goodbye, Mr. Chips. Crowther also commended the film's visual qualities, particularly its Technicolor cinematography, period setting, and production design, while noting that the screenplay—adapted by Eric Ambler from Ray Allister’s biography—was "vague and extended", yet "quaintly eventful and literate".
In the Motion Picture Herald, film historian Terry Ramsaye criticised the film's depiction of Friese-Greene as the father of motion pictures, calling it a "perversion of history" and "an injustice to the very genuine contributions of eminent British scientists and other persons". The producers responded by accusing Ramsaye of prejudice against Friese-Greene.
Despite its prestigious ensemble cast, which included numerous cameo appearances by leading British actors, the film performed poorly at the box office and was ultimately regarded as a major financial failure.
The film was nominated for two BAFTA Awards in 1952—BAFTA Award for Best Film and BAFTA Award for Best British Film.