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Monday, July 9, 2012
Charles Crichton | The Lavender Hill Mob
golden towersby Douglas Messserli
T.E.B.Clarke (screenplay), Charles Crichton (director) The Lavender Hill Mob / 1951
One of the best of the British Ealing Studios comedies, The Lavender Hill Mob might seem not to fit in my “Crime Pays” series, particularly since it ends with the hero’s arrest. Yet for the lifelong government employee, Holland (the incomparable Alec Guiness), the year he has just had in Rio de Janeiro where he has lived in a style to which he was previously “unaccustomed” has been a true pleasure, filled with women (including the young Chiquita (Audrey Hepburn),horse-racing and good food radically different from his previous life as a subservient underling.
That is, until he meets a new neighbor in his Lavender Hill rooming house. Pendlebury (Stanley Holloway) is a would-be artist who works at a day job of designing and crafting tourist trinkets made of lead and copper. On a visit to Pendlebury’s small plant, Holland immediately perceives that the creation of these metal trophies is not so very different from the creation of the gold ingots he oversees. Before long he has confided to his new neighbor his long-planned scheme, who now together plan to steal the truck, melt down the gold bars, and recast them into small models of the Eiffel Tower, which Pendlebury sells at the Tower itself in Paris. In search of further conspirators, the two loudly speak in public of the need of a new lock for Pendlebury’s safe, and wait out the night for a would-be robber. Two, Lackery (Sid James) and Shorty (Alfie Bass) show up and are quickly drawn into the plot.
The heist itself goes off almost flawlessly, except for the arrestment of Pendlebury, who has “accidentally” walked away with a painting in hand. The truck is easily hijacked by Lackery and Shorty, Holland tied up, blind-folded, and dizzily falling into the river as an alibi. Indeed, he is hailed as a hero instead of a suspect. The ingots are melted down and the “golden towers,” symbol of the wealth the two partners imagine, are cast and sent on to France, with specific instructions that the boxes should not be opened and sold.
The pair and their conspirators, who have now dubbed themselves The Lavender Hill Mob, celebrate, as Holland and Pendlebury head off to Paris to retrieve their stolen loot. It has a nearly flawless heist—except that a clerk has opened one of the boxes and sold six of the golden Eiffel Towers to a flock of English school girls visiting the Tower itself. In horror, the two middle-aged villains rush after them, racing down the nearly endless circle of stairs in a marvelous dizzying fall that literally puts them (and the camera) into a spin. But it is too late.
Yet Holland escapes with his six “golden towers,” just enough to give him his wonderful year in the utopian world that Brazil here represents. Despite his capture, accordingly, he has—perhaps for the first time in his life—thoroughly enjoyed the experience, becoming of figure of great admiration and largesse. Although prison may be in store for Holland, it can be no worse than the prison of his own making in which lived for the twenty years before he made his miraculous break into the “gay, sprightly, land of mirth and social ease.” Crime has paid, if only temporarily.
Los Angeles, July 8, 2012