Also known as Stairway to Heaven, A Matter of Life and Death is the remarkable British fantasy film that became the surprise hit of 1946. David Niven stars as Peter Carter, a World War II RAF pilot who is forced to bail out of his crippled plane without a parachute. He wakes up to find he has landed on Earth utterly unharmed...which wasn't supposed to happen according to the rules of Heaven. A celestial court argues over whether or not to claim Carter's life or to let him survive to wed his
American sweetheart (Kim Hunter). During an operation, in which Carter hovers between life and death, he dreams that his spirit is on trial, with God (Abraham Sofaer) as judge and Carter's recently deceased best friend (Roger Livesey) as defense counsel. The film tries to have it both ways by suggesting that the heavenly scenes are all a product of Carter's imagination, but the audience knows better. Among the curious but effective artistic choices in A Matter of Life and Death was the decision to film the earthbound scenes in Technicolor and the Heaven sequences in black-and-white. The film was a product of the adventuresome team known as "The Archers": Michael Powell and Emeric Pressburger. ~ Hal Erickson, Rovi
Although it's undeniably a great-looking film, I just found A Matter of Life and Death to be too harebrained to take seriously as a piece of important cinema.
Though the writer-directors and the actors may be the first names you notice, the cameraman also helped A Matter of Life and Death become one of the most moving movies ever made.
A lament for the dead and an exquisite fairy tale for the living. I would have loved to have been a Brit in the time when this movie was released. Rarely do you see such national pride on display with such heart and such technical majesty that you forgive the moments that could be seen as pro-west propaganda.
November 30, 2011
Reid Volk
Super Reviewer
Yet another magnificent, beautiful film from the Archers. I'm starting to run out of ways to properly convey the genius of Powell/Pressburger's ouerve. A Matter of Life and Death just continues to prove that their canon is truly one of cinema's greatest treasures. Their visual imagination knows no bounds -- every frame
is filled with fantastically bold compositions. The "reverse Wizard of Oz" decision to switch between the bold colors of "the real world" to the stark black and white of "the other world" is ingenious, showing us visually just how much more vibrant life can be. 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.As customary with any Archers film, the performances are spot on (Roger Livesey being a standout), and the romantic energy of the film is endearing. A Matter of Life and Death is all about the power of love and just how important life is -- a pedestrian theme by any measure, but displayed and argued with incredible conviction. Jack Cardiff's cinematography is reason enough to watch the film alone (he puts on a clinic). The way he lights Kim Hunter's face makes her all the more beautiful, and who else 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, which is nothing short of a tragedy.
November 12, 2011
Jonathan Hutchings
Super Reviewer
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