Major Barbara

Love Wendy Hiller. Robert Morley could not have been much older than his early thirties!

This film is an extraordinary historical document! I haven't seen its political philosophy expressed or epitomized anywhere so well as in the movie's final act. The fact that it was filmed in London during The Blitz bombing of 1940 helps provide the production with the behind the scenes gravity or, as Robert Morley's character says , the "anxiety" to make its ideological sentiments, which could easily ring hollow, seem credible. In fact, somehow the movie's Fabian Democratic Socialism manages to surpass even Ayn Rand in its view of man as the measure of all things, thanks to the cagey implication that technological "progress" is the fulfillment of Christian ethics and that the elite are our saviors. "You may be a devil, but sometimes God speaks through you."

This and HG Wells' Things to Come are like comedic and tragic bookends for the Utopian vision of technology as Heaven on Earth, of the industrialist as saint. Here, like a freshly minted coin, before it was cynical or retro, before the appearance of Its antipode, the cinematic Dystopian Hells of the second part of the Twentieth Century, we see the vision of "modernism" in all its glory. Heaven is the "Future" and a secular Holy city of Jerusalem descends from Heaven as the modern industrialized city. This vision of a socialist utopia ruled by an enlightened elite has played a bigger role in our history than is generally acknowledged. It is not acknowledged because the system was successfully implemented, after which it was inconvenient to talk about its existence. Particularly because it was necessary to sustain a false narrative to "steer the 'democracy' from behind the scenes". Predictably this has became leading by deception. This need for deception may have been may anticipated by Fabian social architects like George Bernard Shaw and H.G. Wells as a necessary evil. I would guess that the way such systemic lying leads to corruption may not have been part of the ideology.

Did our self-appointed elite "fallen angels" get lost somewhere along the way and became drunk with unprecedented power and, rather than thinking "God speaks" through them, get seduced into deifying themselves? Or were they themselves manipulated all along by others who had always deified themselves? I'm sure some of our current leaders still believe in this vision, the ones who are not gangsters, Satanists, or both.

To his credit Brad Byrd took a stab at addressing this situation in Tomorrowland.

Robert Morley as Andrew Underschaft must be seen to be believed. He is incomparated. Wendy Hiller as his high-spirited, free-thinking, and self-righteous daughter is equally magnificent. Rex Harrison gives them both a run for their money as the swain whose fallen for Barbara. Robert Newton, David Tree, and Deborah Kerr are also terrific in small roles. There are so many double and triple entendres this one will keep your mind swirling for weeks after you've seen it. It is completely enjoyable and universal.

GBS's great play of war, commerce and religion filmed, as if on the stage, by Gabriel Pascal; (it's at its least effective in the scenes where he 'opens it up'). So what we have, fundamentally, is filmed theater, a rendition on celluloid of a 'performance', much in the same way that Anthony Asquith's version of "The Importance of Being Earnest" was filmed theater, although this is in no way as definitive as that was. Still, what's to complain about when the cast includes Wendy Hiller's high-minded, free-spirited Major Barbara; Rex Harrison's cavalier 'Dolly', oscillating between cynicism and idealism; Robert Morley's unctuous Undershaft, too young for the part but carrying it off splendidly and in support the likes of Robert Newton,Marie Lohr, Sybil Thorndike, Emlyn Williams and Kathleen Harrison. There is even a young Deborah Kerr for star spotters. Of course, as it stands, it may appear something of a dinosaur, both as play and film and some of the speeches have the tone of pamphleteering but it's also very funny and often highly entertaining and one is glad Pascal had the temerity to make it in the first place.

This movie is so rich, that I must see it again and again to 'get' the dialogue. Quotable after quotable, especially today. Example: Ubershaft (don't you love the names?), arms manufacturer, says to his son who is expressing a desire to go into politics: "Do you understand that all the game-playing and posturing done in Parliament (synonym used here) is financed by me and people like me? Those people are allowed their fun because we fund it." And of course, George Bernard Shaw verbalizes this modern truth -- i.e., corporations own the Congress----in a much more eloquent answer. Was it ever so?

The acting by all concerned, including a handsome, twinkling Rex Harrison, is STUPENDOUS!!! Another reason I have to see it again is to see Deborah Kerr as the young Salvation lass who gets clipped in the jaw...her first screen appearance. Robert Morley delivers his lines with just the proper balance of cynicism and charm!!! Orson Welles would have been too ponderous. As the Salvation Army band steps out playing "Onward Christian Soldiers", even we agnostics join in, the mood is so infectious. The point is beautifully made about the power of faith to change a person's life, even as GBS makes his points about the 'greater virtue' of providing a dignified way to make a living. I HATE black and white, except for film noir, but I was so busy mentally interacting that I never missed color. Buy it if you can, because one rental will NOT give you the full appreciation. Compared with all the wealth of information in these old movies, modern TV is sadly, just puff.

This movie is a George Bernard Shaw vehicle. As such it is very heavy handed. But of course that's what we love about Shaw. Isn't it?

No one yet has mentioned the cinematography. I'm no student on this topic, but the scenes where Undershaft gives a tour of his factory and his vision of paradise are truly awe inspiring. There's nothing subtle in it, it is quite vivid for its time. And I think black & white is perfect here. If it were done today in color, I'm sure it would lose something. As someone else said they're not sure why the movie is a comedy. Intentional (as a comedy) or not, t could be this scene.

I haven't seen the movie in years, it is this one scene that lives on in memory above all others.