Wednesday, November 17, 2010

Young Mr. Pitt (1942)

Certain Robert Donat films so deserve a DVD release that I feel compelled to do some kind of civil disobedience on their behalf. That's it: I'm going to lie down in the middle of the street until The Young Mr. Pitt comes out on DVD. Not only is it one of Donat's most important performances, it's directed by Carol Reed for Pete's Sake. Carol Reed! You've heard of the The Third Man, right?

I apologize for the poor quality of the screencaps and their limited number. The DVD I obtained was a bootleg made when the movie was shown on TV in England. My computer didn't like this particular DVD very much so I only have captions from the first 40 minutes of the film. Grrrr. But yeah, we really need a DVD of this wonderful film.

Robert Donat plays Pitt the Younger, an obscure, idealist, reform-minded MP in late 18th century England who is suddenly thrust into the premiership as part of a complicated back room deal between the outgoing government and the King. William Pitt was the youngest Prime Minister in British history and his administration was dubbed the "mince pie government" because everyone assumed it would be over by the end of the Christmas season. Of course, if the guy is a subject of a biopic he must have lasted longer than that. He sees Britain through the dark early days of the Napoleonic Wars promoting a then-obscure young seaman named Horatio Nelson to leader of the navy. Nelson's triumph over the French fleet in Egypt suddenly turns the tide of the war and Pitt's popularity skyrockets. All this from a man who promised his father that he'd never seek fame in war.

The ever-fickle public call for peace, though Pitt is sure that Napoleon has no plans to retire anytime soon. He is sure they will be called to defend themselves and their allies again and again. Pitt is in love with the daughter (Phyllis Calvert) of one of his powerful constituents and they become secretly engaged, which was quite the scandalous thing back in the day. His health is wavering as well, so he plans to step down as Prime Minister as soon as he can groom a successor. It looks like the anti-slavery activist William Wilberforce would be the perfect candidate. Fate begs to differ, Pitt is trapped at the helm and money troubles eventually force him to relinquish his dream of marrying.

Donat is very good here, doing his usual schtick of playing a character from late twenties into middle age. Early in the film he plays Pitt the Elder as well. I guess Old Mr. Pitt isn't as good a movie title. It's pretty remarkable that he does manage the young part so well, and I love that he allows his middle-aged face to show through when appropriate. I think that in real life, Donat felt fairly older than his years, so I guess it's not a surprise that he plays a tired, middle-aged man with such delicate poignancy.

My favorite scene in the film involves Donat joining in a pillow fight with a bunch of little kids while Calvert looks on lovingly. His hair gets mussed up. It's all good. Of course, none of this is remotely historically accurate. In real life, Pitt was never romantically linked to any one. The filmmakers did a good job of sneaking the romance in at the edges of Pitt's life and of making the inevitable break-up reasonably believable. Of course in real-life Regency England it would have been perfectly acceptable for a Prime Minister, no matter how beleaguered by bills, to marry a rich young woman. But no matter--it all makes for some lovely angst on Donat's part.

Worth mentioning are the excellent supporting players. Robert Morley is brilliant as Pitt's rival, Charles James Fox and Raymond Lovell makes a hilarious, bumbling King George III. I think it was actually a fairly bold wartime an English monarch as so utterly incompetent. Here, the king is more concerned with his latest turnip crop than with affairs of state. Since the real King George was declared mad only a few years later, it's not such a stretch although it was his grandfather, though who was turnip-obsessed.

Parts of the film are unintentionally funny. As a Big, Important sweeping biopic it keeps reminding us of the march of history in corny ways. As Pitt the Elder watches his son sleep, the screen goes fuzzy at the edges and we cut across the Channel to baby's baptism. "Congratulations Mrs. Bonaparte," an off-screen voice intones. Later we check in on young Napoleon pwning his examination at military school. I guess this is what Robert Donat's biographer, J.C. Trewin meant when he called The Young Mr. Pitt "dated." But what does it really mean to say an old movie is dated? To me, it means that the values it espouses are irrelevant or antithetical to the modern viewer. Gone with the Wind is dated in its portrayal of happy-go-lucky slaves, for example. Still a great film, though, no? The Young Mr. Pitt must have seemed a bit fusty in 1968 when Trewin wrote Donat's biography. Give it another forty years or so and it's just fine: a nice example of British war-time filmmaking that managed to get its message across without beating you over the head with it. There is a whole sub-genre of war films that use past conflicts to make a point about the current political situation. In this case, the Napoleon=Hitler analogy works alright if you don't think about it too much. The point is that having a politician, not a king or a strongman at the wheel is bound to be complicated, but preferable to the alternatives. Some politicians, like the corrupt Fox will be a hawk or a dove depending on the prevailing winds. Actually trying to lead from one's principals is far more difficult. It's Mr. Pitt goes to Whitehall with a downer ending.


Arnie Perlstein said...

Look at the THIRD charade in the following link:

What is the overt answer......and what is the shadow answer?

Jennythenipper said...

Arnie! I was wondering what this was about, even as I read through the pdf. I confess I had to cheat and go back to your Arniegram to remember that "the great Chatham" was Pitt the Elder!

The movie opens with Pitt the Elder's famous speech about the unjustness of occupying the American colonies.

So I wonder why it was that the Young Mr. Pitt who began his speech opposing Fox, and supporting Warren Hastings, suddenly changed horses mid stream. Speculation? I don't know, but I'm now imagining the speech (as sadly it's not in the movie) with Robert Donat as Pitt and Robert Morley as Fox. As our mutual friend, Deborah says it's so much easier to get through history when you have contemporary (and dishy) actors there to help you remember what they look like.

My next blog post will have a more overt Austen connection.

Arnie Perlstein said...


I can't tell from your reply to me whether the Arniegram you read was one in which I gave the covert answer to the charade? ;)

The Shadow Charademaster

Jennythenipper said...


Leslie said...

Love your observation about the sub-genre of war films about past conflicts as a means to comment on current conflicts. Naturally, I think of American films made during the Vietnam era, like MASH and Catch-22, Oh, and a non-American film: King of Hearts, which I adored when it first came out -- but when I saw it again, as an adult, the terrible creakiness of the thing was almost unendurable. Maybe if I live into my 80s and watch it again, I'll re-appreciate it?

Jennythenipper said...

Hi Leslie:

I've always loved MASH and appreciate even the unfunny later seasons as they particularly pertained to Vietnam. I haven't seen King of Hearts, but I'll add it to the Netflix queue. The description had me at kilt-wearing and black comedy.

SteveQ said...

I really liked King of Hearts, but I was also disappointed, as my expectations were sky-high. It's charming, not black comedy as one thinks of Harold and Maude as black comedy! I saw it on a double bill with Children of Paradise and I remember falling in love with Arletty.... mmm, maybe it's time for a revisit of L'enfants du Paradise.