A MATTER OF LIFE AND DEATH (STAIRWAY TO HEAVEN)

UK, 1946, 104 minutes, Black and white/Colour.
David Niven, Kim Hunter, Robert Coote, Kathleen Byron, Richard Attenborough, Bonar Colleano, Marius Goring, Roger Livesey, Abraham Sofaer, Raymond Massey.
Directed by Michael Powell and Emeric Pressburger.

A Matter of Life and Death is considered one of the major works by The Archers, the team of writers-directors Michael Powell and Emeric Pressburger. Beginning work before World War Two, they came to great fame and attention with several films during the war especially the controversy concerning The Life and Death of Colonel Blimp (with Roger Livesey). They also made One of Our Aircraft Is Missing as well as A Canterbury Tale.

This was their post-war film, a memoir of the war with a pilot being shot down after a bombing raid, opening his parachute but, finding that it was his time to die. Since he was not found for twenty hours and had been in contact by radio with an American working in London, his trial is to be argued in the Heavenly Court to see whether he would have another chance at life or not. This is a blend of fantasy and realism.

David Niven is perfectly cast as the British pilot. Kim Hunter at the beginning of her career (an Oscar for A Streetcar Named Desire in 1951) is the American. On the fantasy side Kathleen Byron is an angel and Marius Goring is the conductor for the downed pilot. On the realism side there was Richard Attenborough, Robert Coote and Roger Livesey.

The film is rather rhetorical at times. However, the dialogue offers strong characterisation as well as arguments about life and death, the meaning of life and wider questions of the universe.

The film is considered to be one of the great British films of the 1940s.

1. The emphasis, thematic tone of the title? The American title was Stairway to Heaven. A better title?

2. The film had great impact at the end of World War II. Why? It has had popularity and status since. Comment on the skill of the film, its high points, aspects of bathos in the fantasy? Why was it popular in the 40s? Later?

3. How well did the film contrast realism and fantasy? How well did it blend them? The use of colour for earth, monochrome for heaven? How did this aid the contrast and the blending?

4. The significance of the initial caption commenting on the two worlds? The imagining of the long journey through the universe, the philosophising about the universe and its meaning? The imagination of heaven and its visualising? What kind of heaven was presented?

5. How realistic was the situation? Audience response to Peter, his war mission, the bombed plane, the dead comrades, his expectations of death? How warm were the conversations he had with June? June and her helplessness, Peter and his cheerfulness before death? The significance of this encounter, a basis for love? The interrelationship between love and death? Peter and his expectations about death and these forming a basis for his fantasies?

6. The contrast with earth, the beach, the shepherd boy and his music, June and her bike, Peter and his sense of reality after his experience of almost-death?

7. How satisfactory in realistic terms was the explanation of the dream and the hallucinations? The relationship between the mind and hallucinations, the basis for such creation of images? How credible with David Niven's performance as Peter? his sensible approach to things, even his hallucinations? The contribution of Frank as friend and doctor? His reasonableness and knowledge of medicine? June and the experience finding Peter alive, falling in love with him, her compassion and wanting to help? The nature of the hallucinations? The relationship between brain and spirit? The human spirit facing life? in the act of death? A man feeling the experience of dying and the desire to live?

8. The heaven sequences and the types of people there? Bob and his jovial waiting for Peter to arrive? The various soldiers arriving after their deaths in the war? The atmosphere of heaven as a rather, large hotel and recreation centre? The discussions about justice and the time for dying? The personality of the conductor, his French background and the 20th century? An engaging personality or not? His mission?

9. The importance of the encounters between Peter and the conductor? Their discussion about life and death? The conductor proving his authenticity to Peter, and yet the audience knowing this was Peter's interpretation? The irony of time standing still, June and Frank standing still e.g. at the table tennis? Peter unable to ring the bell? The conflict expressed through this in Peter's brain and imagination?

10. The personality of June and her contribution to Peter's welfare? The American background and Anglo-American? relationships? The personality of Frank, his concern and friendship, his sensible approach? The representing of love and health?

11. The dramatic impact and irony of Frank's death? His death for Peter? His being unable to be the defender?

12. How well did the film build up suspense in Peter's struggle not to die, not to be taken by the conductor, to hang on to life despite the persuasions of the conductor and his experience of the people from heaven? Frank's wisdom in helping him to stay alive?

13. How successful was the visualising of the operation, the subjective approach from the point of view of Peter on the operating table, his imagination coming alive and stepping out of the surgery? The irony of the surgeon being the heavenly judge? The counterbalancing of the operation sequences with the imagined heaven and trial?

14. How significant was the trial? Frank's decision that the night the trial was on was necessary for the operation? The elaborate preparation, the stairway to and from heaven, the American prosecutor and his American background and hostility to the English? The verbalising in his defence? Moralising about philosophy and history? The jury and the changeover, the irony of the nations represented in America? The people at the trial? The importance of calling June to the trial? What did she prove? Her willingness to give her life for Peter and the meaning of love?

15. How important were the moralisings about Anglo-American? relationships? In the past, during the war, the background of the modern world? The irony of Frank and the defender discussing the modern world, listening to the pop songs? Pretentious? How informative?

16. The final moral about life, and the dedication of love?

17. A satisfying parable, satisfactory moralising? The background of optimism and hope?