MY BROTHERS KEEPER
UK, 1948, 82 minutes, Black-and-white.
Jack Warner, Jane Hylton, George Cole, Bill Owen, David Tomlinson, Yvonne Owen, Raymond Lovell, Beatrice Varley, Susan Shaw, Wilfrid Hyde White.
Directed by Alfred Roome.
This is one of the many films produced in Britain subsequent to the end of World War II, often with small budgets, with serious themes, relying on the many talented British supporting actors of the time.
This is a star vehicle for Jack Warner, who made the Huggett films of this period, a genial father. He was best known for his role in The Blue Lamp and the subsequent television series Dixon of Dock Green.
Here he is playing against type, an older criminal, in prison for many years, doing military service, many prison escape attempts. Handcuffed to a slight young man, played by George Cole, he leaps out of the police vehicle and the film shows their cross-country travels, the police pursuit and, especially, the role of the media and investigation. David Tomlinson is the young reporter forced, even on the day of his wedding, to follow the case, bullied by the editor in London, played by Raymond Lovell.
The older criminal is shrewd, forcing the young man with him, acting sympathetically, then acting most callously, finally abandoning him. The episodes of his escape and his using his brains are quite arresting. Ultimately, despite a certain urbane manner, he is revealed as ultimately callous.
The film was directed by Alfred Roome, a film editor – including at least a dozen of the Carry On films.
1. The title, the final quotation, everyone as brothers, responsibility for others? As illustrated in this film? Ironically?
2. Britain after the war, soldiers, criminal careers, prison?
3. The landscapes, the countryside, the towns, railways, stations, police precincts, newspaper offices, hotels? The musical score?
4. The basic situation, George Martin and his background, age, criminal, in prison, military service, escapes from prison, long marriage to his wife, his relationship with Nora? His decision to escape, handcuffed to Stannard, dragging him with him? Hiding, his plans, shrewd, the military clothes, the plan for the train, pretending to have a deserter in custody, leaping from the train, continually on the run, going to Nora, the saw, his handcuffs off, leaving Stannard’s on? Sometimes praising Stannard and encouraging him, other times disparaging him? The farmer, Martin hitting him over the head, leaving him for dead? At the military camp? Wanted to get Stannard’s motorcycle, his being recognised? His phone call to his wife, going to the town, the shave? Going to the church, the service, the policeman’s wife, bringing him home, his seeing the photo, the police arriving? The police search, tracking him down, his running, the pursuit, at the barbed wire, the police advising him to stop, his defiance, in the minefield, his death? A callous man?
5. The contrast with Stannard, the woman reporting him for molestation, his going to prison, protests, a slight man, a weak man, forced into running, handcuffed, Martin coaching on how to behave, dragging him along, as the deserter in the train, with Nora, still with handcuffs, Martin abandoning him, the dead man and his running, dismayed, handing himself in, interrogated, arrested for the murder?
6. The world of newspaper reporting, Wainwright, boorish, no sensitivity, controlling his journalists, the pressure? Offhand remarks about marriage and honeymoon?
7. Ronnie Waring, the day of his marriage to Meg? The phone call, on the job, the hotel, the name of the police chief, the wife of the policeman, getting the leads? Other reporters, sending in information, spending the night in the rough quarters, wanting to resign, Meg and her accepting his job, eager to be on the job with him? The other journalists, talk amongst themselves, leads, being present at the final moment?
8. Martin’s wife, 22 years, her care for him, lament about his life, the driver and his love for her, driving her to meet her husband, their being stopped? Her being present at his death?
9. Nora, the past relationship, her dead husband, giving shelter, the saw, sympathy for Stannard? Meeting Martin again, talking, blaming him for the death and leaving Stannard? Her presence at the end, meeting Martin’s wife? Her decision to go to the police and saying she had witnessed the murder, freeing Stannard?
10. An offbeat criminals on-the-run story?
