Major Barbara

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.

I happen to like this film. It is almost as good as "Pygmalion", the previous Shaw - Pascal collaboration, but that film had Leslie Howard in it as Higgins, and as co-director. Here, although Wendy Hiller is back, Howard is not involved and Rex Harrison is the romantic lead (and the philosophic lead is Robert Morley, as the man of wealth Andrew (or, as Shaw says, "St. Andrew") Undershaft). It has a grand cast supporting these three, including Mary Lohr, Deborah Kerr, Emlyn Wiliams, and Robert Newton (for once showing what a terrific actor he was when not drunk). The best parts are when Newton tries to be stoical and get knocked down to show he can take what he gives out to weaker types. He does get under the skin of Torin Thatcher (as a reformed boxing champ, named Todger Fairchild), only to have Thatcher humiliate him by forcing him to pray.

Shaw the comic dramatist is always a treat. Shaw the self-created man with all the answers is another problem. "Major Barbara" is a look at how money is made by ways that are spiritually appalling (armaments and booze for example), but which guarantee jobs and hope to people who can't get them from the world of religion. One probably can agree with this point of view, but the constant pushing of Undershaft's point of view - nobody ever trounces him in an argument - is annoying. He seems omnipotent in this play (as Shaw, no doubt, wanted him to be). I once suggested that it would have been delightful if after one of his speeches he had actually had coughed blood (to show he was mortal). But Shaw never would have done that to St. Andrew.

Yet he did do something within a decade after writing "Major Barbara" that was inconsistent. Shaw probably never willingly discussed it with anyone. Undershaft rules his armaments firm with a total control. He dictates to the government on policies he needs. The stockholders don't seem to exist. But in 1916 Shaw's optimism about dictatorial capitalists had faded. World War I shattered him a bit, and he wrote "Heartbreak House". In it is the character of "Boss Mangam", a powerful business tycoon like Undershaft, who proves to have feet of clay. It seems the great tycoon has to satisfy those stockholders or his empire is taken from him. The same, of course, has to be true of "St. Andrew" Undershaft as well. He probably is his largest shareholder, but he never says he is sole shareholder. Undershaft was quite content and pontifical in 1907 when he describes his religion of cannons and prosperity for all who listen to him. But that was peacetime. Somehow, in 1916, "St. Andrew" would probably have found it harder to be as glib about his doctrines as he had been.

One of my all-time favorite films, "Major Barbara" is a cinematic Shavian gem that stands alongside the original "Pygmalion", "Caesar and Cleopatra" and "The Devil's Disciple". Many viewers regard this as a rather verbose comedy-drama but then, as with Plato, dialogue was always what Shaw was all about. And what dialogue! There are more fireworks in ten minutes of "Major Barbara" then can be found in entire movies made nowadays, and without a single explosion or car chase! But then, like all Shaw dramas, this is a story about ideas, not about action.

Although Major Barbara (Windy Hiller) is the title character, the real center of the story is her father, munitions tycoon Andrew Undershaft, played brilliantly by a fairly young, and uncharacteristically lean, Robert Morely. It is he who really moves the progress of the story, just as he has controlled the courses of the lives of his family in absentia for the past twenty years without their even being aware of it. As Barbara smugly repudiates his attempts to contribute his tainted money to save her Salvation Army mission, he ironically reminds her fiancée (and the audience) that she has actually accepted a great deal of it already. In fact, she has been living off his tainted money all her life. Tricked out with a Mephistophelean beard (he is constantly referred to as the "Prince of Darkness, and even his name seems redolent of Hell), Undershaft tempts his daughter and prospective son-in-law to abrogate their life in the Salvation Army for his life in the munitions business.

Undershaft proposes to spend a day in Barbara's Salvation Army mission if she'll agree to spend a day at his munitions works. She agrees because, in her religious zeal, she's convinced she can convert her father. The worldly Undershaft, on the other hand, is equally sure that he can wean his daughter away from a life he perceives as a waste of her time and talent for one where he feels she can really make a difference.

Whether viewers perceive Shaw's story as cynical or realistic depends upon their point of view. Clearly Shaw took the latter view, at least at the time he wrote "Major Barbara". However, perhaps the most remarkable thing about "Major Barbara" is that a film like this should have been produced in Britain at all during the very darkest days of World War II. It is almost impossible to imagine a film such as this being produced in Hollywood at all, let alone during wartime!

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.

"Major Barbara (1941: **1/2). A lot of talent has gone into this film version of Shaw's play about a Salvation Army lass who is disillusioned when her Mission accepts a fat check from her father, a wealthy munitions manufacturer of wartime supplies. I happened to have the play on hand and referred back to it as I wasn't sure Shaw's meanings survived the rather tedious verbosity of the movie, which sags despite a great cast (Wendy Hiller, Rex Harrison, Robert Morley, etc.). Shaw seems to be saying that when religion and capitalism fight it out, capitalism will always win as it provides jobs and shelter for the poor, whereas all religion can do is to concentrate on saving their souls. To Shaw, a man's soul is best saved when his belly is full and his future is secured. Ultimately, the girl decides it's better to labor in her father's vast factory, where she can save souls while working within the system. I believe Shaw was something of a Utopian Socialist. He called this play a "Discussion in Four Acts" and that's pretty much what the movie seemed to be.