The Magic Box

The most notable aspect of this film is the enormous number of famous actors, some of whom I didn't notice but saw them on the cast list. Older viewers will enjoy looking out for them. The acting is therefore generally very good.

I have two main criticisms of the film. First, the story is shown out of sequence, and would have been just as good and less confusing if shown in the correct sequence. Secondly, it is not accurate, being a strange mixture of fact and fiction. For example, at one point he meets William Fox-Talbot, who died when Friese-Green was only 22! If a biographical book made such a claim it would be strongly criticised, but for some reason which I have never understood it is perfectly acceptable in the cinema.

So watch it purely for entertainment., but for biographical facts go to Wiki or elsewhere.

I'm sure it didn't hurt in the resolve of the British film industry to honor one of its pioneers and one who some claim to have been the actual inventor of motion pictures, William Friese-Greene, to have one of his grandchildren, Richard Greene as a film star in his own right. The Magic Box is a fine tribute to someone generally forgotten if known at all to American audiences especially.

Robert Donat brings his Mr. Chips character and weaves it into the character of William Friese-Greene. The story is told in flashback and in reverse order, first by his second wife Margaret Johnston from their first meeting in 1897 through their marriages and then later by Donat himself as he remembers his first wife Maria Schell. But in both remembrances, the thing that stands out is his driving obsession to capture movement on some medium. As Donat eloquently puts it, 'movement is life'.

It costs him dear, he does not get the credit he feels due him, it goes to that upstart Thomas Edison from the USA. Actually fellow Britishers George Alfred Smith and Charles Urban and Frenchmen Auguste and Louis Lumiere and Emile Reynaud all could claim pioneering contributions to the motion picture as well. Friese-Greene was a fine portrait photographer, but spent all his money on his experiments, even selling the patent he took out on his early motion picture camera.

Donat, Johnston and Schell are supported by a massive cast of the best British players doing small parts in tribute and belated recognition to the guy who now is considered if not THE inventor of motion pictures, the founder of British cinema. From Laurence Olivier in the role of an astonished policeman who is the first to see Robert Donat's breakthrough, to Bernard Miles as Donat's stuffy cousin who's worried about having the bite put on him, to young John Howard Davies as the youngest of Friese-Greene's sons, you'll recognize lots of familiar faces.

Still the film belongs to Donat as the obsessed, but touching Friese- Greene who helped give the world a universal medium of entertainment. Donat never gave a bad performance on the screen and Friese-Greene ranks among his best.

Much has been said in other reviews about the subject of John Boulting's biopic, the inventor William Friese-Greene, who spent his life trying to create the eponymous "magic box" that would show moving pictures. Whether he was the first to do so is largely insignificant: the fact that he went largely unrecognized assumes far greater importance.

Planned to celebrate the Festival of Britain in 1951, THE MAGIC BOX recognizes the achievements of someone who spent just about everything - time, money and effort - on his work. Director Boulting alternates between scenes in Friese Greene's (Robert Donat's) laboratory, with domestic sequences involving his wives Edith (Margaret Johnston) and Helena (Maria Schell). Although a devoted husband, Friese-Greene is so obsessed with his work that he neglects his family; as shown in several sequences where he begins to talk excitedly about his discoveries, while remaining oblivious to his wives' complaints. In one sequence, for example, Edith has to remind him that he has missed an important concert at which he was supposed to be the soloist; to avoid any embarrassment with the conductor (Muir Matheson), she had to fill in for him. Sometimes his wives sacrifice their own health to support him; Helena is shown in close-up crumpling a medicinal prescription in her hand as she travels home by coach. In her view it's far more important to encourage Friese-Greene's work than to cure her congenital heart condition.

Boulting adopts an equivocal view of Friese-Greene's work; although obviously an innovator, his obsessions caused pain and suffering in his family, and led to the break-up of profitable partnerships such as that with rich northern business person Arthur Collings (Eric Portman), which could have secured Friese-Greene's financial future.

The film is structured in double flashback, showing us how Friese- Greene's life, and enabling Donat to give a virtuoso performance in the title role. This most underrated of British actors was particularly good at portraying tortured souls (remember GOODBYE MR. CHIPS (1939)), and he manages to communicate the pain lurking at the heart of Friese-Greene's soul, once he realizes the damage he has done to his family. Boulting is fond of using the quick close-up to register his emotions.

As well as being a celebration of the inventor, THE MAGIC BOX celebrates the British film industry by offering roles to virtually all the major stars (and supporting actors) working in the studios at that time. The film offers fans the pleasure of identifying people in the smallest roles, and enjoying scene-stealing cameos such as Margaret Ruthferford's irascible dowager telling Friese- Greene's first employer Guttenberg (Frederick Valk) off; Joyce Grenfell at her toothiest as a member of Edith's choral society; Sidney James and William Hartnell as a pair of World War One army personnel; and Laurence Olivier in his famous cameo as a London police officer marveling at Friese-Greene's invention.

Thematically speaking, Eric Ambler's script might be a familiar one, but that does not prevent viewers from enjoying the film as a celebration of a long-forgotten figure as well as British films as a whole.

A stunning biography of William Friese-Greene, the UK inventor who made important contributions towards the creation of the motion picture, then saw greatness pass him by. Brilliantly written by Eric Ambler, and with beautiful color photog by Jack Cardiff (working in the 3-strip Technicolor process that we see Friese-Greene working towards in the picture!). Robert Donat's performance in the lead is among his best screen work. As this was made on the occasion of Britain's 1951 "Festival of Lights", virtually every British actor of note at the time appears in the picture---but pay particularl attention for Laurence Olivier, as a London "bobby" who is the first to see Friese-Greene's "pictures that move", and for the film's closing line, delivered by Dennis Price.

This is the 1951 feature made by the British film industry to celebrate the festival of Britain. The film stars a virtual who's who of all the famous British cinema actors of that time, and one of the fun things about this film is trying to identify all of them as they pop up in various cameo roles. The story is the biography of William Friese- Greene, who this film claims invented the motion picture camera and projector. Edison and Lumiere are casually acknowledged as also being motion picture pioneers, but Friese-Greene is claimed to have had the first intermittent mechanism (presumably the Maltese cross) used in today's cinema projectors. It also claims that he invented the biocolour process, where color motion pictures are produced by rotating two color filters in front of the camera and projector (KinemaColour). The lead role is beautifully played by Robert Donat as the quiet intense inventor obsessed with producing moving photographs, and his wife is competently played by Maria Schell. Also appearing in cameo roles are Michael Redgrave, Richard Attenborough, Peter Ustinov, Stanley Holloway, Michael Dennison, the great Dennis Price, the beautiful Glynnis Johns and her father Mervyn Johns, the eccentric Joyce Grenfell, the wonderful Margeret Rutherford, and a host of others too long to mention. The most famous cameo is by Sir Laurence Olivier, as the astonished policeman who witnesses Friese-Greene's first triumph, the projection of moving images of Hyde Park on an improvised sheet screen. This is the most remembered scene of the film, and Friese Greene's excitement at this event reminded me of my own excitement when I first turned the handle on my first Pathescope 9.5mm projector! The film is of great interest to film collectors and movie buffs, containing beautiful shots of old wood and brass magic lanterns and early movie equipment. There are many wonderful scenes, such as the Victorian photo studio where they show customers having to stand absolutely still for 30 seconds to get their photo taken! The film was produced by Roy Boulting, and the beautiful Victorian settings and costumes are sumptuously photographed by Jack Cardiff. My family and friends really enjoyed this movie, it is low key almost like a BBC period drama, but if you are a film collector you will love it. We take the showing of films in our homes for granted these days, and it easy to forget the real struggle by inventors such as Friese- Greene to achieve what seemed impossible at the time. American audiences will of course have to (at least temporarily) suspend their belief that Edison was the sole inventor of the motion picture camera ( in fact Edison was primarily a business man and entrepreneur who copied many of the motion picture concepts developed by Lumiere in France) This film is very rare indeed. I don't think it exists on VHS or DVD,(certainly not in the USA), however Super 8mm film prints do exist, so if you find an S8 print grab it! My particular super 8 print is a 2400 ft Agfa color print, pin sharp with beautiful rich colors and great contrast. The mono magnetic track sound quality is very good for a film of 1951 vintage. Highly recommended, if you can find it.