NOTES: Another of Rank's extremely successful (at least from a technical angle) "Independent Frame" productions. The process was supposed to cut costs, so it was abandoned when it became clear that the costs in point of fact actually exceeded conventional methods of process screen projection. A pity, because the results were definitely superior.
COMMENT: It's hard to understand the antipathy of critics to this movie at the time of its original release. Myself included. I suppose we were all especially hard on the film because we saw it as an experiment, the story obviously thought of and constructed purely to show off the capabilities and dazzling effects of the Independent Frame. Although we realized that 99% of moviegoers just went to the flicks to see their favorite stars in good stories and couldn't care less how the stories were contrived, let alone how the films themselves were actually made, we wanted Rank to know that we critics wouldn't sit still for technical innovations that the vast majority of film-makers had serious reservations about.
The same thing was to happen a few years later with CinemaScope (though in that case of course the public was made well aware of the technical "advance") when critics and film-makers so vigorously campaigned against it. Notice how disproportionately many of the early CinemaScope films got rotten or lukewarm reviews, whilst VistaVision atrocities like White Christmas for example were praised to the skies. It was unfortunate for Gordon Jackson that he had his "big chance" in two of the four Independent Frame pictures. He received a wholly undeserved roasting from the critics — even from the blandest of bland journals like Picture Show ("Not very happy in his role"), let alone more acidic competitors like Picturegoer ("Gordon Jackson can make little of his role").
Seeing Stop Press Girl broadcast in 2006 was a revelation. I thought Jackson was excellent, making a fine and personable foil for the charming Sally Ann Howes (daughter of Bobby Howes, of Sweet Devil fame). I also enjoyed the constant re-appearances in various guises of that amusing comedy duo, Radford and Wayne. And of course there's James Robertson Justice at his sarcastic best. And Campbell Cotts, that delightful cameo stuffed-shirt, making the most of a larger part than his norm. Nigel Buchanan is agreeable too, whilst Kenneth More impresses in a tiny bit as a police sergeant, "Bonzo" by name.
As for the story itself, I enjoyed it. The fantasy was original, and cleverly developed with some appealing twists — and a gallery of felicitous characters. The special effects are both dazzling yet unobtrusively part and parcel of the tale. The direction I found both fast-paced and always skillful, the photography winning and other credits likewise absolutely first-class.
In short, a most enjoyable Stop Press.
COMMENT: It's hard to understand the antipathy of critics to this movie at the time of its original release. Myself included. I suppose we were all especially hard on the film because we saw it as an experiment, the story obviously thought of and constructed purely to show off the capabilities and dazzling effects of the Independent Frame. Although we realized that 99% of moviegoers just went to the flicks to see their favorite stars in good stories and couldn't care less how the stories were contrived, let alone how the films themselves were actually made, we wanted Rank to know that we critics wouldn't sit still for technical innovations that the vast majority of film-makers had serious reservations about.
The same thing was to happen a few years later with CinemaScope (though in that case of course the public was made well aware of the technical "advance") when critics and film-makers so vigorously campaigned against it. Notice how disproportionately many of the early CinemaScope films got rotten or lukewarm reviews, whilst VistaVision atrocities like White Christmas for example were praised to the skies. It was unfortunate for Gordon Jackson that he had his "big chance" in two of the four Independent Frame pictures. He received a wholly undeserved roasting from the critics — even from the blandest of bland journals like Picture Show ("Not very happy in his role"), let alone more acidic competitors like Picturegoer ("Gordon Jackson can make little of his role").
Seeing Stop Press Girl broadcast in 2006 was a revelation. I thought Jackson was excellent, making a fine and personable foil for the charming Sally Ann Howes (daughter of Bobby Howes, of Sweet Devil fame). I also enjoyed the constant re-appearances in various guises of that amusing comedy duo, Radford and Wayne. And of course there's James Robertson Justice at his sarcastic best. And Campbell Cotts, that delightful cameo stuffed-shirt, making the most of a larger part than his norm. Nigel Buchanan is agreeable too, whilst Kenneth More impresses in a tiny bit as a police sergeant, "Bonzo" by name.
As for the story itself, I enjoyed it. The fantasy was original, and cleverly developed with some appealing twists — and a gallery of felicitous characters. The special effects are both dazzling yet unobtrusively part and parcel of the tale. The direction I found both fast-paced and always skillful, the photography winning and other credits likewise absolutely first-class.
In short, a most enjoyable Stop Press.