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user\nAs I drove from Skagway, Alaska to Dawson City,Yukon a couple of years ago and was impressed with the scenery, I cannot help but wish that this film even though it has beautiful color and scenic views would have been shot in the actual location. Jasper in the Canadian Rockies is a magnificent place, but still not the real place where the film takes place. When the story moves to Dawson, that is when I feel Anthony Mann, who used the outdoor locations so well, could have made the most if he filmed in the actual place. James Stewart here is again a man fighting within himself, one side of him does not want to get involved and help people who stand in the way of him making money, and the other side just is not able to look away from people being murdered. Ruth Roman is the ambitious woman who does not care on whom she steps, Corinne Calvet is the nice girl. Mann is excellent directing the shootouts, but the high point of the film is how well he does in the outdoor scenes. He uses the outdoors as much as he can and he is helped by the winter scenery, the predominating white, like it was with the greens in \"The Naked Spur\" and the browns in \"The Man From Laramie\". Like all of the Mann-Stewarts, this is a traditional western, with a difference in the elaboration of Stewart's character which is more complex.
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user\nCowboys James Stewart and Walter Brennan take their herd from Seattle to Alaska and on into Canada to stake a claim. Once there, they have to contend with seductive, shifty businesswoman Ruth Roman and ice-cold, happy-go-lucky villain James McIntire.
John Wayne may get talked about more, but his good pal Stewart made some excellent, hard-edged westerns too, some with the great director Anthony Mann. Frankly, I'd take this, with it's sturdy action sequences and fine melodrama, over North To Alaska any day!
The Far Country features some breathtaking scenery and cinematography that should definitely have been shot in widescreen.
Also, there's some strong support by the always reliable Brennan, Roman (who's great), the incredibly cute Corrine Calvet, and James McIntire, who plays one of my favorite types of bad guy, the kind that doesn't take himself too seriously.
This would make a great double-bill with another highly recommended Mann/Stewart northwest-set western, Bend Of The River.
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user\nMy comment would have been added to the RELEASE DATE section, but I couldn't find a place for it. I was really surprised to see that this movie was released in the U.S. in Feb., 1955. I saw it in a \"first run\" theater in Washington, D.C. in March, 1958. Wonder if it was re-released, or some problem? In my opinion, this movie is very light entertainment, but has some classic characters. John McIntyre does a bang-up job as a corrupt judge/entrepreneur/thief. Walter Brennan does basically the same role he did in Red River years earlier. And, in my opinion, James Stewart gives as fine a performance as he ever did. I have seen this movie a half dozen times or more, and never tire of seeing parts of it again. The photography and scenery are splendid, and it offers a remarkable amount of entertainment in one hour and thirty-six minutes.
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user\n(contains slight spoilers)
It's interesting how Anthony Mann uses James Stewart here. Stewart is, of course, remembered by many as George Bailey from Frank Capra's \"It's a Wonderful Life\", so it's easy to find parallels between the two films. In \"It's a Wonderful Life\", Bailey gets to see the world as it would have been if he had never been born. In \"The Far Country\", Stewart's Jeff Webster, by not getting involved to help anyone else (except himself), gets to see essentially the same thing: A world in which he (for all practical matters) doesn't exist.
By not getting involved (and by attempting not to care about anyone), Webster is forced to see those for whom he can't help but care get hurt, pushed around, and even killed while he stands by and does nothing. This reminds the viewer of George Bailey watching a world that has turned upside-down because he has also decided not to get involved by not ever having been born.
Both movies end with the same image - a close-up of a ringing bell. Stewart, by turning around his philosophy of non-involvement, has, it would seem, earned his \"wings\".
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user\nAfter losing his cattle herd to a dishonest lawman, a trail boss winds up in the Yukon gold fields with a bad reputation and small chances of being able to return to the states. While there his fortunes take a turn for the best until a bad luck specter from the past comes calling. Good western with many favorite old faces in the lineup.
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user\nThis is such a fantastic movie, a Western about a self-concerned man (Jimmy Stewart) going up to the Klondike for gold. On the way, he gets hassled by a local sheriff in Alaska (John McIntire, giving a wonderfully evil performance), whom he hassles back. McIntire threatens that he'll be a dead man if he ever comes back through his town, which is, unfortunately, the only way back to the States. The main chunk of the story is about the peaceful Klondike town of Dawson being turned upside down by new residents from McIntire's town. Ruth Roman, for instance, who has come with Stewart and his two companions (Jay C. Flippen and Walter Brennen, who plays Stewart's best friend), builds a saloon (a Hollywood front for a whorehouse) and tries to run the town's restaurant and hang-out place out of business. She paves the way for McIntire and his goons to come up, too. In 1953, Jimmy Stewart and director Anthony Mann made one of the peaks of the Western genre, The Naked Spur. The Far Country is just the tiniest bit less, and it contains 99.9% of what made that film so special without, of course, feeling like a cheap copy. Like The Naked Spur, The Far Country boasts beautiful, on-location cinematography. The landscape is gorgeous. Stewart gives one of his best performances (nearly equal to his biggest success of 1954, Rear Window). I suppose it could be considered cliche, as he starts out a selfish loner and learns how that kind of existence plays out in the end. Still, Stewart plays it so damn well, he makes this character very human. And the supporting performances are universally fantastic. In addition to those I've mentioned, the adorable French actress Corinne Calvet is very good. And I ought to single out Walter Brennen, as well. He seems to have specialized in playing best friends. His relationship with Stewart is very touching, since he is, at first, the only character who is able to bring out any humanity in the cynical man. The screenplay is very well written, and Mann's direction is impeccable. A masterpiece. 10/10.
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user\nThe year is 1896.Jeff Webster (James Stewart) doesn't like people.There's only one friend he's got and he's Ben Tatum (Walter Brennan), an old sympathetic man.They're driving a cattle herd with them.That would be their key to richness.In Skagway they run into trouble when Sheriff Gannon (John McIntire) takes the cattle.Now Jeff only has to get it back and drive it through the U.S. Canadian border to Dawson.Now they have a group of other people with them, like the ladies Ronda Castle (Ruth Roman) and Renee Vallon (Corinne Calvet).There the two men get into the gold business.Anthony Mann's and James Stewart's fourth collaboration, The Far Country (1954) is a fine western, indeed.The acting work is superb.Walter Brennan makes a terrific sidekick to Stewart.Ruth Roman is brilliant and Corinne Calvet's delightful.Jay C. Flippen is very good as Dawson Marshal Rube Morris.The great Jack Elam and Kathleen Freeman are seen in smaller roles.It's fantastic to watch how Jimmy Stewart overcome's all the troubles in his way.There's just the man and his rifle.But also he's vulnerable.
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user\nThis movie was just as good as some of the other westerns made by Anthony Mann and James Stewart like Winchester '73 and The Naked Spur, and much better than Thunder Bay and Bend Of The River. This film starts out like a run of the mill western but gets more complex as it goes along. It starts out with Jimmy Stewart and Walter Brennan arriving in Seattle and Stewart is charged with murder. He is found innocent but is cattle is stolen by a corrupt judge. Stewart then agrees to lead something but i forget what it is but Stewart only cares about getting his cattle back. As the movie goes along it's like Stewart only cares about himself just like his character in the Naked Spur. It gets much better at the halfway point after they arrive in Alaska. This is one of Stewart's better westerns.
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user\nI don't know if I'm just weird, but I thoroughly enjoyed this film.
Return to Cabin by the Lake is of course the sequel to another one of my favorite films Cabin by the Lake. In fact, I think that I enjoyed this movie even more than the first one. I also thought that the cast in this movie was great, Judd Nelson is always the best! I also enjoyed the plot as a whole. I liked the fact that this second movie focused on the filming of Stanley's screenplay Cabin by the Lake- it wasn't a completely redundant film of Stanley grabbing other girls and drowning them. - If you're looking for some deep meaning, then this film is probably not the one for you. However, if you're looking for a fun way to spend two hours, then go ahead and watch it. I've probably already killed at least ten hours watching this film. :)
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user\nI thought it was one of the best sequels I have seen in a while. Sometimes I felt as though I would just want someone to die, Stanley's killing off of the annoying characters was brilliant. It was such a well done movie that you were happy when so and so died. My only problem was in some scenes it looked like someone with a home camera was filming it and it was weird. Judd Nelson is cute, at least in my opinion and he was excellent in the role as Stanley Caldwell. Brilliant movie.
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user\nSequels hardly ever live up to the original. This definitely proves true in this case. However, if you're a big fan of the original than definitely give this a watch. Although the camera work is lacking, Brian Krause's character is annoying, and the plot is clique, it's much more funnier than the first and that is what I find entertaining about it.
Don't see this movie expecting the same performance as in the first film. Quite frankly it's a bit different. Rather than sitting in his cabin writing screenplays, Stanley is off in Hollywood trying to direct his dream project, Cabin by the Lake. This movie has a much different feel but it's still great to see Stanley back in action.
I'm giving it a 6 out of 10.
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user\nI loved this movie. It was almost the same as the first (cabin by the lake), only instead of just killing women, he kills men also. And the scenes are much more interesting, 2 of my favorite scenes are firstly, when Stanley and Allison are in the dance club and he is describing Kimberly's last moments before she is thrown to the water, And secondly, When Stanley is visiting Allison in his basement, right before they head down to the set, when she kisses him. Those scenes, for me, were very intense and riveting. I gave the movie a rating of 8/10, not because the movie was bad, but because the filming was bad, I mean, there were times when you'd notice nothing was wrong, like its being shot the way a film is usually shot, you wouldn't see the \"live\" camera shooting, but then, very little, you would notice the filming mistakes. what went wrong??
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user\nThis movie is the best horror movie, bar-none.I love how Stanley just dumps the women into the lake.I have been a fan of Judd Nelson's work for many years, and he blew me away. Its a blend of horror, and drama ,and romance, not so much comedy. His evil, yet charming look captured me right then and there. That look in his eyes, I will never forget. There's something about him, I cant describe.
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user\nWhen I first found out that Brian Krause was going to be in this movie, I wanted to watch. It took me weeks to realize that I've seen the original of this and loved it. So I had even more reason to watch. Well, I watched. It was actually better than most sequels for TV movies. I hate what happens to Brian's character (you can find out for yourself) and I didn't like most of the characters, Brian's one included. But the movie needed the cheesy and annoying and jerk-like characters to make Stanley Caldwell (Judd Nelson) shine once more. At the end, I was cheering for Stanley and his own happy ending. If you liked the original Cabin by the Lake or if you like horror movies without the blood, I'd suggest you watch this.
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user\nas a sequel,this is not a bad movie.i actually liked it better than the 1st one.i found it more entertaining.it seemed like it was shot documentary style.at first this bothered me,as i thought it just looked too low budget.but it grew on me,and it made the movie seem more authentic.this movie has more dry one liners than the original,which is a good thing,in my opinion.i do think at times they went a bit over the top with some of the scenes and the characters.it almost becomes a parody of itself,which may be the point.this movie at least has some suspense,which the 1st one did not have,in my view.it has some of the same great music from the original,which is great.the acting again was pretty decent for the most part,though like i said,some of it seemed over the top.i also felt that the movie loses a lot of momentum towards the end and there are a few minutes which seem really slow and just don't seem to flow,like the rest of the movie.overall,though,i thought this was a pretty sequel.my rating for \"Return to Cabin by the Lake\" is 7/10*
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user\nactually... that \"video camera\" effect, is just that, it's an effect, a rather good one.. (u don't know much about directing a film do you?) this film is in fact BETTER than the original, it's great fun to watch, made for TV, doesn't need to follow any rules. I find it hard to watch number 1 because of how he kills the first girl, its disturbing. and all the time we are routing for Judd Nelson to get away with it, we as the viewers are on his side. i hope one day we will see a 3rd cabin by the lake but i doubt it. Watching this film you can understand how real movies are made, as this is sort of like a film within a film. Judd is one of the scariest villains ever, and he's more realistic, he doesn't just mindlessly chop people up like in other horrors.
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user\nThe first was good and original. I was a not bad horror/comedy movie. So I heard a second one was made and I had to watch it.
What really makes this movie work is Judd Nelson's character and the sometimes clever script. A pretty good script for a person who wrote the Final Destination films and the direction was okay. Sometimes there's scenes where it looks like it was filmed using a home video camera with a grainy-look.
Great made-for-TV movie. It was worth the rental and probably worth buying just to get that nice eerie feeling and watch Judd Nelson's Stanley doing what he does best.
I suggest newcomers to watch the first one before watching the sequel, just so you'll have an idea what Stanley is like and get a little history background.
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user\nReturn to Cabin by the Lake is Perhaps one of The Few Sequels that Can Live up to The Original. It Had Black Humor, Good Suspense, Nice Looking Girls, and Of Course, a Psycho Killer. What are We Missing? I Think Nothing. Except we Are Left with a Small Amount of Gore and Nudity because It Was Made for Television. Besides Being one Of The Best Sequels, it is one of The Best Thrillers to Watch as a Family. Recommended for Everyone.
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user\nTo me A Matter of Life and Death is just that- simply the best film ever made.
From beginning to end it oozes class. It is stimulating, thought provoking, a mirror to the post war world and the relations between peoples.
The cinematography is simply stunning and the effect of mixing monochrome and Technicolour to accent the different worlds works seamlessly. The characters and plot development are near perfect and the attention to detail promotes a thoroughly believable fantasy.
No matter how many times I watch the film - and I have watched it a lot - it never fails to touch me. It makes me smile, it makes me laugh, it makes me think, it makes me cry. It is as fresh today as it was in 1946.
If I were allowed just one film to keep and watch again A Matter of Life and Death would be that film.
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user\nFew movies can be viewed almost 60 years later, yet remain as engrossing as this one. Technological advances have not dated this classic love story. Special effects used are remarkable for a 1946 movie. The acting is superb. David Niven, Kim Hunter and especially Roger Livesey do an outstanding job. The use of Black and White / Color adds to the creative nature of the movie. It hasn't been seen on television for 20 years so few people are even aware of its existence. It is my favorite movie of all time. Waiting and hoping for the DVD release of this movie for so many years is, in itself, \"A Matter of Life and Death\".
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user\nA Matter of Life and Death, what can you really say that would properly do justice to the genius and beauty of this film. Powell and Pressburger's visual imagination knows no bounds, every frame is filled with fantastically bold compositions. The switches between the bold colours of \"the real world\" to the stark black and white of heaven is ingenious, showing us visually just how much more vibrant life is. The final court scene is also fantastic, as the judge and jury descend the stairway to heaven to hold court over Peter (David Niven)'s operation.
All of the performances are spot on (Roger Livesey being a standout), and the romantic energy of the film is beautiful, never has there been a more romantic film than this (if there has I haven't seen it). A Matter of Life and Death is all about the power of love and just how important life is. And Jack Cardiff's cinematography is reason enough to watch the film alone, the way he lights Kim Hunter's face makes her all the more beautiful, what a genius, he can make a simple things such as a game of table tennis look exciting. And the sound design is also impeccable; the way the sound mutes at vital points was a decision way ahead of its time
This is a true classic that can restore anyone's faith in cinema, under appreciated on its initial release and by today's audiences, but one of my all time favourites, which is why I give this film a 10/10, in a word - Beautiful.
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user\nI LOVE this movie. Director Michael Powell once stated that this was his favorite movie, and it is mine as well. Powell and Pressburger created a seemingly simple, superbly crafted story - the power of love against \"the powers that be\". However, its deception lies in the complexity of its \"is it real or is it imaginary\" premise. Basically, one could argue that it is simply a depiction of the effects of war on a young, poetically inclined airman during WWII. Or is it? The question is never answered one way or the other. Actually, it is never even asked. This continuous understatement is part of the film's appeal.
The innovative photography and cinematography even includes some nice touches portraying the interests of the filmmakers. For instance, Pressburger always wanted to do a cinematic version of Richard Strauss' opera, Der Rosenkavalier, about a young 18th century Viennese aristocrat. This is evident in the brief interlude in which Conductor 71, dressed in all his finery, holds the rose (which appears silver in heaven). The music even has a dreamy quality.
All of the acting is first rate - David Niven is at his most charming, and he has excellent support from veteran Roger Livesey and relative newcomer Kim Hunter. But, in my opinion, the film's charm comes from Marius Goring as Conductor 71. He by far has the most interesting role, filling each of his scenes with his innocent lightheartedness, brightening the film. It's a pity that some of Conductor 71's scenes were left on the cutting room floor. It is also a pity that Goring's comedic talents are rarely seen again on film, except in the wonderful videos of The Scarlet Pimpernel television series from the 1950s. This is by far and away the most memorable role of his film career. He is a perfect foil for relaxed style of Niven, and his virtual overstatement contrasts so nicely with the seriousness of the rest of the characters. Ironically, also in the mid -1940s, Niven also starred against another heavenly \"messenger\", played by Cary Grant, in The Bishop's Wife. Their acting styles were so similar that I found the result boring, unenergetic, and disappointing. As a note, according to Powell, Goring desperately wanted the role of Peter Carter, initially refusing Conductor 71. It's a good thing he gave in and gave us such a delightful portrayal.
The movie, \"commissioned\" to smooth over the strained relations between Britain and the U.S., overdrives its point towards the end. But it is disarming in its gentle reminders of the horrors of war - the numerous casualties, both military and civilian, the need to \"go on\" when faced with death. There is a conspicuous lack of WWII \"enemies\" in heaven, but the civilians shown are of indeterminate origin. Powell and Pressburger could have been more explicit in their depiction but it wasn't necessary. The movie may not have served its diplomatic purpose as was hoped for, but its originality continues to inspire moviemakers and viewers alike on both sides of the Atlantic.
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user\nEnchanting, romantic, innovative, and funny. The vision of this extraordinary film is almost unparalleled, exceeding better known \"death romances\" such as Ghost. While we know intuitively that Peter and June will find ultimate happiness at the end of that long-long stairway, the joy is in the journey. The moral of the tale, of course, is timeless: love conquers all. But the struggle to achieve that victory is played in a celestial arena of sweeping vision and gripping grandeur. With more than 500 suitably clad extras portraying various ages and cultures, the directors' vision of heaven remains memorable six decades later, far into the CGI era.
Yet for all the cosmic scale, Powell and Pressburger knew an essential truth: the best story is told at the smallest level. The wonderfully, determinedly romantic aspect of \"Stairway\" is captured with ultimate simplicity: June's teardrop, preserved on a rose petal.
This film, like the story and the set itself, is one for the ages.
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user\nThis movie has the most beautiful opening sequence ever made. I've seen this movie for the first time a week ago, since then every day I see the opening and every time I feel as thrilled as I felt the first time I heard David Niven uttering the immortal words from Sir Walter Raleigh's The Pilgrimage:
Give me my scallop-shell of quiet, My staff of faith to walk upon, My scrip of joy, immortal diet, My bottle of salvation, My gown of glory, hope's true gage; And thus I'll take my pilgrimage ()
Do you know why it would be a truism to say Michael Powell's and Emeric Pressuburger's lives are thoroughly justified for having crafted such a wonderful opening? Because they had been already admitted in the Paradise of Poets long before they made this movie.
I imagine both of them facing trial during Doomsday and saying nonchalantly to an irate God: I beg your pardon, Sir. So, do You want to know what have we done during our lifetime? Well, well you'll see: We've written directed and produced: I know Where I'm Going, Colonel Blimp, Red Shoes do you think that enough Sir? It is rather obvious that these two great artists had already fulfilled their duty with God, Nature the Muse or Whatever you may call It when they shot A Matter of Life and Death. The fact that other people's lives would be justified for their deeds could be not apparent to everybody, notwithstanding I feel my life would have a meaning had I never done anything else that to see this movie.
Of course old-timers will be tempted to say: They don't do movies like this one any more. They'll be partially mistaken; they didn't make movies like this in the past times either.
I've have already quoted Keats here, but I'll repeat his words: A thing of beauty is a joy forever.
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user\nThe great talents of Michael Powell and Emeric Pressberger are noticeable in their wonderful \"A Matter of Life and Death\". It was part of the recent tribute to Mr. Powell that played at the Walter Reade in New York. This film, in particular, shows us one of the best British films from that, or any other era.
\"A Matter of Life and Death\" has a brilliant cinematography by Jack Cardiff, a man who knew how to work wonders with a camera. Particularly impressive is the contrast from the monochromatic tones given to the scenes played in heaven, and the colored ones when the action comes back to earth. This was quite a coup, and well ahead of its times. The black and white sequence that involves the long staircase where Peter and the Conductor are chatting has to be one of the most amazing things on any film.
Much has been said in this forum about the film, so our comment will be about the great acting Powell and Pressberger got out of the large, distinguished cast, who responded magnificently to the directors' guidance.
David Niven, is Peter, whose aircraft is hit and his best friend dies as a result of it. This film marked one of the highlights in Mr. Niven's career. He was an excellent film actor as he shows us in this movie. Kim Hunter is surprisingly good as June, the woman who talked to Peter as his plane was falling from the skies. As fate would have it, Peter and June fall in love at first sight.
Some of the best British film actors grace this film with their presence. Robert Coote, is Bob, the man who is admitted to heaven, but he is surprised his friend Peter never made the trip with him. An excellent star turn by Marius Goring, who as the Conductor 71 steals the film. Mr. Goring, who had worked with the directors, is one of the best things in the movie. Also, Roger Livesey, as Dr. Frank Reeves, does one of the best appearances of his career, as well as Raymond Massey, who is seen as Abraham Farlan.
\"A Matter of Life and Death\" is a timeless film that will always be seen with gratitude toward its creators.
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user\nThis is one of the most overlooked gems Hollywood has ever produced. -- A young WWII British fighter ace whose plane is about to crash, has radio contact with a young American woman who comforts the brave pilot, knowing that within minutes he will be dead. For some reason the man who should certainly be dead walks away from the wreckage and eventually learns that he was meant to report to heaven. When a messanger is sent to ask the pilot to accompany him to heaven, the man refuses and demands to have his \"day in court\" to argue his case. The man argues that his situation had changed during the final moments of his earthly life, that he had fallen in love and therefor had become a different person, one who deserved a chance to live on.
The \"heavenly court\" is a cinematic delight! The \"announcement of the jury of peers\" is a definite highlight. The story, as fantastic as it seems, is an engaging one and will keep you spellbound for the nearly 2 hours play time. The final scene is simply beautiful and will require a \"Kleenex treatment\" for most viewers. This film is in my personal all-time favorite top 10, it has my highest recommendation!
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user\nIf you want to be cynical and pedantic you could point out that the opening where a RAF Lancaster bomber is mortally wounded on the 2nd of May 1945 is somewhat unlikely since German air defences were as lively as Adolph Hitler on that day but this isn't a movie that should be viewed by a cynical audience and I guess a character being killed in literally the last hours of the war adds to the poignancy . In fact you'd have to have survived the second world war to fully appreciate the intellect , beauty and soul of Powell and Pressburger's masterpiece . The scenes of heaven are painfully twee when viewed today ? Again you have to view the movie of the context when it was made . RAF bomber command lost 58,000 men during the war , the same number that America lost in 'Nam but during a shorter period and a far , far smaller pool of active combatants , there's no atheists in a fox hole and I doubt if you'd lost a relative during the conflict you'd view material atheism as being a sensible thing . When Richar Attenborough's young pilot looks down in awe at the sight below him many war heroes must have openly wept at this scene as they remembered much missed comrades who didn't survive the war . Also bare in mind that despite losing several million people from 1939-45 there seems to be very few people from Germany passing through the pearly gates . it's obvious Nazis don't go to heaven
The plot itself where dashing young pilot Peter Carter arguing for his life in front of a celestial court wouldn't have had much appeal to me if it wasn't for the subtext , you see A MATTER OR LIFE AND DEATH is a highly political and visionary film that laments the end of the British empire as it's replaced by American ambitions . There's little things that show up the film as being made by people aware of American history and culture . One is the ethnic mix of America , even today many Britons think that the USA is overwhelmingly composed of White Anglo Saxon Protestants when in fact only 51% of Americans are \" White European \" . The film rightly contains a scene where a multitude of different races confess \" I am an American \" as Peter is judged by Abraham Farlan , an Anglophobe who was the first revolutionary killed by British forces in The American War Of Independence . As for the \" special relationship \" between Britain and America - What special relationship ? Powell and Pressburger know their history when it comes to Britain and America . They obviously know their future too
So remember to watch this movie with some of your mind in the past and some of your mind in the present . It's strange , beautiful , poignant and clever but most of all it's a film that would never ever work if it were made in the last 40 years . Can you imagine if the story was set in 2003 and revolved around a British soldier killed in Iraq ?
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user\nIf ever anyone queries whether cinema is an art form, you can do worse than pointing them at this movie.
Quite simply it is the perfect combination of story, script, actors and cinematography ever committed to celluloid.
The story of a doomed bomber pilot who is missed by his heavenly conductor in the English fog during the second world war, and his subsequent brushes with the celestial authorities (or is it in his head) is played with panache by David Niven and Kim Hunter and is incredibly touching - especially in the opening scenes when the doomed pilot (Niven) describes his plight to the ground radio operator (Hunter).
The sense of otherworldliness is heightened by Jack Cardiff's photography and the incredible production designs.
The supreme touches extend to the heaven shots appearing in black and white and earthbound scenes presented in Technicolour - this is even mentioned by the celestial conductor (a fantastic Marius Goring).
Not only a highpoint in British cinema, but a highpoint in cinema, period.
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user\nJust after the end of WWII Powell & Pressburger were asked to come up with something to try to heal the rift developing between the UK & the USA. At the time there was a lot of \"Overpaid, over sexed and over here\" type of comments. Somehow they came up with this masterpiece.
My favourite movie of ALL time. It's got everything. Romance, poetry, emotion, religion, drama and very quirky.
I can never explain exactly why, but it hits all the right buttons and although I've seen it hundreds of times (yes, really) I'm still guaranteed to be in tears at many points throughout.
Was it the magnificent acting, the wonderful sets, the inspired script ? Who knows. But *DO* watch it and you'll see what I mean.
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user\nI saw this movie years ago on late night television. Back then it went by the title of \"Stairway to Heaven\". Even as a young boy, I remember being deeply moved by the story and astounded by the visual effects of the court trial (those who have seen it know what I'm talking about). Such imagination! A perfect blend of romance, drama, humour and fantasy, this movie is right up there with the greatest classics ever made: Citizen Kane, Casablanca, Gone with the Wind. This movie is rated extremely high by IMDB voters and rightly so - over 51% voters rated it 10 out of 10; over 84% rated it 8 or higher out of 10. I was surprised it was not listed in the top 250 films until I realized so few have seen/rated this movie, compared to those on the list. What a pity. I hope this movie gets released on DVD for Region 1 (North America), so that 1), I can purchase it, and 2), others discover this hidden treasure.
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user\nWhy is this movie not in the 250 best? This movie looks still astoundingly fresh 56 years after its production but it could only have been made at the aftermath of W.W.II because of the perception of the nearness of death. People were more aware that life could be stopped at one unexpected moment. And what after life? I liked the scene at the end with the judgment and all people of all nations gathered. The phlegmatic judge (Abraham Sofaer-a typical British judge-), Doctor Reeves (Roger Livesey) defending Peter Carter (David Niven) and also June (Kim Hunter) against the American prosecutor Abraham Farlan (Raymond Massey I -there is a reason why it is an American-). It is all so imaginative! Michael Powell wrote, directed and produced this astonishing movie which is a real \"tour-de-force\". The message of the movie is clear: in the universe the law is the most important but on earth nothing goes beyond the love between humans. The way in which this beautiful story is told is far more interesting than any Hollywood-movie could ever make.
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user\nA wonderful film by Powell and Pressburger, whose work I now want to explore more. The film is about what we perceive as real and what is real, and how the two can be so difficult to distinguish from one another. Beautifully shot and acted, although David Niven doesn't seem to be 27 years old, as his character claims to be. Fun to see a very young Richard Attenborough. This film made me think, while I was watching it, and afterwards.
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user\nThis is probably one of the most original love stories I have seen for ages, especially for a war based (briefly) film. Basically it is a story based in two worlds, one obviously real, the other fictitious but the filmmakers say at the beginning that it is only coincidence if it is a real place. Anyway, Peter Carter (the great David Niven) was going to crash in a plane, he talked to June (Planet of the Apes' Kim Hunter) before he bailed out and said he loved her. He was meant to die from jumping without a parachute, but somehow he survived, and now he is seeing and loving June in the flesh. This other place, like a heaven, is unhappy because he survived and was meant to come to their world, so they send French Conductor 71 (Marius Goring) to persuade him to go, but he is obviously in love. Peter suggests to him that he should appeal to keep his life to the other world's court, he is granted this. Obviously love prevails when the two lovers announce that they would die for each other, June even offers to take his place! Also starring Robert Coote as Bob Trubshawe, Kathleen Byron as An Angel, a brief (then unknown) Lord Sir Richard Attenborough as An English Pilot and Abraham Sofaer as The Judge/The Surgeon. David Niven was number 36 on The 50 Greatest British Actors, the film was number 86 on The 100 Greatest Tearjerkers for the happy ending, it was number 47 on The 100 Greatest War Films, it was number 46 on The 50 Greatest British Films, and it was number 59 on The 100 Greatest Films. Outstanding!
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user\nMy only minor quibble with the film I grew up knowing as STAIRWAY TO HEAVEN, is the fact that the wonderful RAYMOND MASSEY is relegated to the last twenty or so minutes in the trial scene. And the trial itself, IMO, is the least interesting portion of this fascinating fantasy.
David NIVEN and KIM HUNTER are wonderfully cast as the young lovers, but it's ROGER LIVESEY who gives the liveliest and most credible performance. French accented MARIUS GORING is a delight (he even gets in a remark about Technicolor) as the heavenly messenger sent to reclaim Niven when his wartime death goes unreported due to an oversight. Goring has some of the wittiest lines and delivers them with relish.
Seeing this tonight on TCM for the first time in twenty or so years, I think it's a supreme example of what a wonderful year 1946 was for films. The Technicolor photography, somewhat subdued and not garish at all, is excellent and the way it shifts into B&W for the heavenly sequences is done with great imagination and effectiveness.
The opening scene is the sort that really draws a viewer into the fantasy aspects of the story--and Niven's tense talk with radio operator Hunter while his plane is crashing toward earth, unexpectedly leads to a memorable romantic encounter. Truly a marvelous film from beginning to end, another triumph for Michael Powell and Emeric Pressburger.
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user\nI first saw this movie about 20 years ago and have never forgotten it. It's beautifully filmed and the story keeps one riveted for the entire time. It's difficult to believe this was made in 1946, as the tale is still fresh today, and really makes one think. I'm not very knowledgeable regarding film technique however the special effects in this film are terrific considering when this was made. In addition, the acting is superb, and the use of English and American actors quite astounding. I recently purchased the DVD so now I'm able to watch whenever I wish. I highly recommend anyone interested in post-war British films to watch this.
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user\nAlso known as \"Stairway to Heaven\" in the US. During WWII British Peter Carter's (David Niven) plane is shot down in combat but he survives. He meets and falls in love with lovely June (Kim Hunter). But it seems a mistake was made in Heaven--he should have died! A French spirit comes to get him but he refuses. He is soon to plead his case in front of a Heavenly Tribunal that he should be allowed to live.
Sounds ridiculous but this is actually an incredible film. The script is good with the actors playing the roles completely straight-faced and it's beautifully directed--the scenes on Earth are in breath-taking Technicolor (I've never seen such beautiful blue skies) and the scenes in Heaven are in black and white! Niven is a little stiff at times but Hunter is just great (and very beautiful) and Roger Livesey is superb as a doctor trying to help Niven. The imagery throughout is amazing (especially the staircase and during the final trial sequence) and the special effects are truly great (considering the age of the film). There's also a very strange sequence when Niven runs into a totally nude young boy herding sheep! This is an absolutely beautiful, thought provoking film--highly recommended. This remains unknown in the US which is a shame.
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user\nPressburger and Powell's greatest movie. David Niven plays the RAF bomber pilot who misses his own death but is granted a second chance at life when heaven notices that he is AWOL and dispatches an angel to investigate. The scene when the young soldiers, men and women, black and white, all killed in action, arrive in heaven to be processed for eternal life is unbearably poignant. Watch out too for Roger Livesey, a deeply under appreciated actor, and Kim Hunter as the love interest (later, of course, Zira in Planet of the Apes). Incidentally, Steven Spielberg cast the actress who played the chief angel (Kathleen Byron) as the elderly wife of the eponymous private in Saving Private Ryan half a century later, an act that speaks volumes for his cinematic literacy.
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user\nOne of the few best films of all time. The change from Black and white to colour for the Heaven and Earth Sequences was Directorial excellence.
The Plot is extremely clever, the complete film leaves you overwhelmed by all of the human emotions, and although a war film it doesn't discriminate. I must have seen this film more times than any other, and I never tire of it. It is a film that makes you question your own mortality and beliefs on what happens after our demise.
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user\nI remember the first time I saw this movie -- I was in the office working over the weekend & the TV was on for background noise. But I gradually found myself more & more engaged in this movie I'd never seen or heard of, until I was completely absorbed. A Matter of Life & Death (the British title -- Stairway to Heaven in the US) is delightful, compelling, whimsical, & moving, all in one superbly-written, well-acted, perfectly-directed package. It's a classic that really does rank right up there with Casablanca, It's a Wonderful Life, Gone With the Wind, Citizen Kane, & Chariots of Fire. WHY has it never received the same public notice & video-store prominence? Fortunately, SOME knowledgeable critics HAVE put it on their \"Top 100 of all time\" lists. There IS hope -- 1940's Fantasia wasn't a hit 'til the '60s, & the Wizard of Oz was a dud at the box office, but made a hit by TV. Buy it -- rent it -- watch it -- demand it! You WON'T be disappointed!
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user\nSurely one of the best British films ever made, if not one of the best films ever made anywhere. Script, cinematography, direction and acting in a class on their own. This film works on so many levels. So why is it completely unavailable on tape, DVD. Never shown on TV? Why is it hidden away when it is regularly shown at the National Film Theatre in London to packed houses?
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Filmed just after the war, this story was made in order to highlight Anglo-American relations after the war. It ended up receiving the honour of being the first Royal Premiere after WWII.
Remarkably the film tangles together the Royal Air Force, Sigmund Freud Psychology, the Founding fathers of America and various others up the long stairs (special effects in its infancy) and beyond the heavenly gates without losing any of its integrity.
Although sounding absurd, this clever script leads and dances the viewer between heaven and earth with the skill of a mountain goat and a presents a charming ease rarely matched in cinema since.
Be prepared to have your heart warmed by this sweet, innocent and charming love story. Roger Livesey acts like a man possessed to steal the show!!!!
British Cinema should cry when it remembers how good it used to be in those early post war years.

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