A Kid for Two Farthings

Shorn of his trademark Dutch tilts - even in the night scenes - and dramatic foreign locations Carol Reed's first film in colour looks quite unlike any of his others of the fifties.

Rather perversely returning to Britain and the working class milieu of his thirties classics, another anomaly is that such a whimsical fantasy uses the decidedly unglamorous setting of London's East End (although the interiors are plainly shot at Shepperton Studios) as the setting for the action; although as a corrective to this generally down-at-heel setting Diana Dors and Vera Day provide a strong dose of glamour in blue and fuschia sweaters.

Wow, I can't believe reviews saying the boy was a bad actor. He is perfectly natural and adorable. Also, the color was magnificent, gritty, yet vibrant. Black and white would not have added anything to the colorful market days and red neon nights. This is a real gem and I highly recommend seeing it. I'm confused why it's considered a fantasy though, since nothing happens that couldn't happen in real life. This film really gives you a sense of place and time, and you feel you know these people and that they are real and a tight knit loving community so different from modern times. There is so much wit, wordplay and attention to detail. It's the little things that make it so nice, like the man watching ballet on the TV while the wrestling match is going on. This film is compelling and utterly charming. I highly recommend it.

What a bunch of moaners. It would seem obvious to me that the mother and her son were middle class down on their luck.( note - disappeared dad) Hundreds of thousands of people found their lives turned upside down during and just after the war. Mine was. Yes, perhaps it would have been better in black and white, but can't you just suspend critical faculty just enough to enjoy the story. Nobody noticed Barbara Windsor, even uglier then than she is now. Gerald Kersh is a blast from the past. His novel 'Fowlers End' is a marvellous depiction of life amongst 'ordinary' folk between the wars.

I am 70, but I cried like a babby,watching this last week

Movies titles always intrigue me, and are often the first thing that causes me to look. Long ago, when the film was released, I recall hearing about this one from my parents and, even then, I was puzzled by the title. Hence, when I had the chance to see this recently, for the first time, I was looking forward to solving my fifty-five year puzzle.

The term 'farthing' has two meanings: first, it was, at one time, an English coin of low value, equal to one-quarter of a penny; two farthings equaled a half-penny, still not much in money terms. And second, 'farthing' was generally used colloquially as anything of little value.

In the story, young Joe (Jonathan Ashmore) is on a quest to find and buy a unicorn because Mr Kadinsky (David Kossof), his friend and his mother's landlord, had told Joe that unicorns were magical creatures that could grant every wish. And young Joe very much wants to have some wishes to come about – starting with seeing his father again, who is a prospector far away in South Africa. However, more pressing needs arise in Petticoat Lane of East London, the setting for this slice of London life in the fifties: Joe's adults friends, Sonia (Diana Dors) and Sam (Joe Robinson) are engaged and they need an engagement ring and other home trifles that they cannot afford to buy; Mr Kadinsky needs an automatic steam press for his shop, but can't afford the price; and Sam is a body builder but he's been encouraged – pressured by Sonia, you might say – to enter a wrestling match against The Python (Primo Carnera) and win some money so that he and Sonia can get married. Young Joe, naturally, wants the unicorn to make it all come true.

So, Joe begins wandering around the stalls of the market, searching, in and out, up and down, until he happens upon an old salt who has a young goat – a kid - with only one horn. With the goat in tow, the old geezer is wandering around the market, trying to sell it. Joe, thinking he's found a real unicorn, sidles up and begins to bargain...

How much? he asks. The man looks at him and says, gruffly, Five bob! I'll give you three and nine, Joe responds, hopefully. The old fellow thrusts him away. Get off, I might as well skin and eat it. He looks around some more, calling out for buyers – to no avail. Joe pulls all of his money out. Look, he says, I'll give you three and nine-pence ha'penny. He held out the money, together with a few worthless foreign coins. Exasperated, no other buyers on hand, the old man says, Oh, well, give me your money. He takes it roughly and stalks off, leaving Joe with the goat.

So, Joe prances off with his 'unicorn', having acquired it for only an additional half-penny - two farthings - and the old man got rid of something that was of no value to him. Puzzled solved for me, at last.

What's more surprising, however, is the fact that Carol Reed produced and directed it – the director famous for The Third Man (1949), Trapeze (1956), Our Man in Havana (1959) and other dramatic goodies from the thirties and forties. Quite a departure, artistically, for Reed, yet this film works as a delightful fantasy, for young Joe, who believes that his prize possession is the reason why so many good things happen thereafter. The irony is that, in a real sense, that's true – but only because his lucky pet gets caught up between Sonia, Sam and The Python.

The most I'll say about the rest of the story is that most of the wishes come true, but at a cost. The real joy in this film is seeing how it all pans out for young Joe and all the other residents of a part of London long gone but happily still living in films such as this. Having lived there myself for five years in the mid-sixties, vivid memories of that area flooded back. In that regard, I would have preferred black-and-white photography instead of the over-saturated colors of this print. But, London always looked so drab and dull in those days, so I guess that's why Reed went for color, and strong ones, all to enhance the magical quality of the setting and story.

The casting was generally very good, with the standout being David Kossof as Kadinsky; what a fine actor he was (passed away only in 2005). Young Jonathan Ashmore as Joe was well directed by Reed, showing a flair for acting (although he never appeared in another film), despite sounding very unlike any East Ender I ever heard. Ditto for his mother, Joanna (Celia Johnson), better known for appearing in weepy romances from the forties, Brief Encounter (1945) being one. Diana Dors decorated her scenes well; Joe Robinson as the body-builder performed in a wonderfully campy and narcissistic manner, a deliberate parody of the profession, I'm sure. Primo Carnera provided a great contrast to Joe in the many times they game to grips with each other. The wrestling scenes between the two are worth seeing the film just for those: bone crunching throws and tosses as only true professional fighters can do. Despite those scenes, it's still a kid's story – no pun intended! The rest of the cast – including Brenda de Banzie, Sid James and even Spike Milligan in a bit part – all contributed in their usual fashion: flawlessly.

If you and your family are looking for a new cultural experience and an enchanting – and quite funny, at times – story as well, then I'd urge you to see it.

Carol Reed is one of the few directors whose work I fervently wish to explore exhaustively in the near future. I made this decision on the basis of his post-War masterpiece 'The Third Man (1949),' perhaps one of the top ten films ever made, and my resources are currently strained in the frantic search for 'Odd Man Out (1947)' and 'The Fallen Idol (1948),' of which most speak with only the utmost praise. In the meantime, I managed to tape 'A Kid for Two Farthings (1955)' on late-night television, and, though it is one of Reed's more obscure offerings, I must say that I quite enjoyed it. Distinctly British in tone, the film is a gentle and warm-hearted fantasy film, depicted through adult eyes and designed to appeal both to children and to those who once were. Set in lower-class London, the story revolves around a bright young boy, Joe (Jonathan Ashmore), who uses his pocket-money to purchase what he believes to be an infant unicorn. Reed, even with what is relatively light fair, expertly captures the warmth and spirit of the working-class community.

In the hustle-and-bustle of London, a weary mother (Celia Johnson) takes care of her young son, Joe, waiting tiredly for the next letter from her husband, who is trying to make a living in the African colonies. Her neighbour Mr. Kandinsky (David Kossoff) runs a not-so-profitable tailor shop, and yearns above all else for a steam presser to make things easier for his aching bones. Mr. Kadinsky's diligent bodybuilding assistant Sam (Joe Robinson) has spent the last four years engaged to beautiful blonde Sonia (Diana Dors), but his meagre income has continually delayed their marriage; to raise the funds, he challenges a massive wrestler (Primo Carnera) to a professional bout in the ring. One day, when Joe is sent out to buy himself a puppy, he instead happens upon a runtish kid goat with a single paltry horn protruding from its forehead. Having remembered Mr. Kadinsky's tale about the magic powers of a unicorn, he immediately purchases the pathetic little creature, and so sets about improving the lives of his family and loved ones by drawing upon the wish-granting abilities of his newfound companion.

By the end of the film, Joe's young "unicorn" becomes a beaming symbol of hope for the story's main characters, and (arguably) triggers an unexpected upsurge in fortunes for the lower-class battlers. Strictly speaking, the story contains nothing that might be considered implausible in true life, but Edward Scaife's vivid Technicolor photography, particularly at night, highlights the artificiality of the shooting locations and studio sets, reinforcing the film's foundations in fantasy. David Kossoff provides the film's best performance as the wizened Jewish tailor, and Jonathan Ashmore is very enjoyable in the main role; his perfect elocution may conflict with his supposed lower-class upbringing, but it also makes his every word an absolute delight. 'A Kid for Two Farthings' is most certainly an outing in fantasy, only it distinguishes its fairytale by reflecting upon it from the nostalgic perspective of an adult, emphasising the importance of make-believe in the development of young minds in difficult times, and also perhaps suggesting that, even in adults, a lit bit of child-minded optimism doesn't go amiss.