SILENT DUST
UK, 1949, 82 minutes, Black and white.
Stephen Murray, Beatrice Campbell, Derek Farr, Nigel Patrick, Sally Gray, Seymour Hicks, George Woodbridge, Marie Lohr, James Hayter, Irene Handl, Maria Var.
Directed by Lance Comfort.
Silent Dust is a small British movie from the late 1940s well worth catching. It was directed by Lance comfort made a number of significant British films in the 1940s and early 50s, made a transition to television but, before his death in 1966, made a number of small budget British films. The screenplay is by Michael Pertwee, of the famous Pertwee family, an adaptation of his play.
The action of the film takes place over one day, and is confined to the exteriors and interiors of the mansion owned by Robert Rowley. Stephen Murray plays Robert Rowley, a self-made businessman of humble origins, now blind. He has planned a huge memorial to his son, Simon, who died during the war. He is supported by his second wife, Joan (Beatrice Campbell) who was his secretary.
The device of having a neighbour, Lord Clandon (Seymour Hicks) cycle to the mansion and be held up by the police who gives him information about a violent stranger and an incident prepares for the surprise of the film, the return of Robert Rowley’s son who was a deserter and who has now come for money to escape to the continent. Also arriving for the memorial is Simon’s wife, Angela (Sally Gray) who has been married to Lord Clandon’s nephew Max, while they were working in Berlin (Derek Farr).
The flashbacks seem initially obvious but the screenplay uses the device of visualising the truth while Simon’s words are the opposite.
While there is conflict between the characters and the visitors reluctant to tell Robert Rowley the truth about the wedding, everything changes with Simon (a very effective Nigel Patrick) arriving, confronting Angela and Max, explaining what happened to Joan, and the attempts of the group to conceal the news from Robert who, in an interesting scene, thinks and talks allowed, working out what the mystery is that he has not been able to see. Ultimately, there is a violent confrontation between father and son.
(Interesting to note that soon after this film Nigel Patrick married Beatrice Campbell, the marriage lasting until Nigel Patrick’s death.)
1. An interesting postwar British drama? Melodrama?
2. The setting, the country mansion, the country village and roads? The interiors of the house? The musical score?
3. The opening quotation, intimations of death and mortality? The complexities of themes of the dead and memorials?
4. The situation, the planning for the memorial, the elaborate building and plans, Robert, his memory of his son killed in action, a haughty businessman from humble origins in Leeds, his dead wife, his dead son, marrying his secretary? Her devotion to him? His blindness? His supervision of the plan, the discussions with the foreman and the injury to the workmen, his criticism but giving money? Joan and discussions about the relationship, his blindness in communication? The visit of Lord Clandon, the bicycle is an obstruction, Clandon and his suggestions about
widening the memorial to other dead men of the region? The clash between the two men and the Clandon snobbery?
5. Joan, secretary, devoted wife, care for Robert? The memories of Simon? Angela and her return, Joan welcoming her, Robert and his coldness?
6. Angela, Simon’s widow, the gradual revelation of the hard marriage, her work in Berlin, the encounter with Max, his charm, being a doctor, Lord Clandon’s nephew? Arriving at the house? The prospect of the memorial? Angela and her interactions with Robert?
7. The policeman, holding up Lord Clandon and his bicycle, the news about the attack on the driver, the later information about the driver’s death? Wariness about the violent stranger?
8. The evening, the prospect for Max to meet Robert and Joan, the tensions, Angela wanting to give the news about their marriage in Berlin?
9. Simon’s arriving, Angela’s shock? Simon explaining about himself, his war service, desertion?
10. The significance of the flashbacks, the war sequences, Simon running, changing identity? His verbal narrative and its touches of heroism? The visuals completely contradicting what he was saying, self-centred, violent, in the club, fearing cowardice, the singer and the relationship? His presenting himself in the best light?
11. His drinking the whiskey, Robert entering, sensing someone present? Angela and her fears, the story of twisting her ankle? Joan seeing the light in Simon’s room?
12. Max, the confrontation with Simon, Simon wanting money at any means, Angela and the insurance, willing to pay, the fight with Max, the maid coming, the irony of the food in the pantry, Angela taking the food for Simon, the maid seen the man on the floor, telling Robert?
13. Joan, going to the room, the encounter with Simon, his telling her the story? Joan wanting to conceal the story, not wanting to hurt Robert?
14. Lord Clandon His arrival? Witnessing the revelations?
15. The device of having Robert think, talk aloud, going back through all the clues, his not seeing that his hearing, especially hearing the code of the whistle? Working out that Simon was alive, deserter? Simon hearing the whistle, coming down, confronting his father? The truth, his father’s denunciation?
16. The fight on the terrace, Simon falling to his death? Lord Clandon and his helping Robert, to remove all traces of the dead man, especially the pictures? And the police not knowing the truth?
17. Strong dialogue, strong performances, intriguing situations, dramatic and melodramatic climax?
