A KID FOR TWO FARTHINGS
UK, 1955, 96 minutes, Colour.
Celia Johnson, Diana Dors, David Kossoff, Joe Robinson, Jonathan Ashmore, Brenda de Banzie, Primo Carnera, Lou Jacoby, Irene Handl, Danny Green, Sydney Tafler, Sid James, Joseph Tomolty.
Directed by Carol Reed.
A Kid For Two Farthings is a delightful film. It is set in London’s East End in a lower-class area, an area of markets and small shops. The film focuses on Joe (Jonathan Ashmore), a small boy who lives with his mother (Celia Johnson). They live above the Kandinsky tailor shop and Kandinsky, David Kossoff in charming form, is able to instruct the boys in folklore as well as Jewish traditions. The film also has a boxing background with Joe Robinson and actual fighter, Primo Carnera. Also in the neighbourhood are a group of prominent British character actors led by Diana Dors and Brenda de Banzie.
The little boy believes that a unicorn will be able to grant people’s wishes and make their lives happy. He wants to do this – and saves his money and finds a little goat with an emerging horn which he thinks is a unicorn.
The film was directed by Carol Reed who had made an impact in the 1940s with a range of films including Kipps, The Way Ahead as well as his adaptations of Graham Greene stories, The Fallen Idol and The Third Man. Reed was to continue to make an interesting range of films though they were never quite as strong as his films of the 40s (Our Man in Havana, The Running Man). However, he was to win, unexpectedly, an Oscar for best director for his screen adaptation of the musical Oliver.
1. How enjoyable a film was this? For what audience was it made? Family audiences? Its presentation of colour, grimness? A world of fantasy and reality? Its value and significance as a fable? Its impact on modern audiences?
2. How optimistic a film was this? Was its optimism realistic? How humane a film was it in conception, in execution, in exploration of humanity and behaviour?
3. The film contained much sentiment. How successful was it in its communication of feeling and sentiment? Sentimental?
4. The films focussing on Joe, how did the film see the world through his eyes? A child-like view of Petticoat Lane and this London world? How did the view change with experience? The visualizing of Petticoat Lane, people, the stalls, the music and the theme music? Joe as a real child - strong or too soft? His relationship with his mother?
The absent father and ambitions? His dependence on Mr.Kandinsky? His chasing the pigeons? His wonderment at the kid as a unicorn? What did he believe unicorns could do? Why did he believe this? The influence of Mr Kandinsky and wishful thinking? His faith in the unicorn and its magic? How sad was the death of the unicorn? How did Joe have to grow and change? How was this an attractive picture of innocence and love?
5. Was Joanna an impressive character? What were she and Joe doing in Petticoat Lane? Did they fit or not? Joanna’s exasperations and yearnings for her husband? How well was she bringing up Joe? As a humane woman?
6. Did you enjoy the performance of Mr. Kandinsky? His Jewish kindness, his work in the press, his communication of magic and wishes? Was he a realistic person? His encouragement of Joe in fantasy as the best thing to do? His joy in getting the press? His kindness to Sam and Sonia? How impressive a character was he?
7. How real were the people of Petticoat Lane - how realistically were they portrayed? Were they too lovable? Sam and his ‘Mr. World' ambitions, gentle satire here? His work, wrestling, love for Sonia? How attractive a heroine was Sonia? Her wanting to get married? Her household ambitions, her love for Sam? Madam Rita and Lady Ruby and their shop? 'Iceberg’ and his conmanship? And the ordinary small people of Petticoat Lane?
8. How realistic was the presentation of the fight world? Sam and his wrestling career? ‘Python' and his ambitions? His slinging-off at everyone else? ‘Blackie’ and his management? The atmosphere of the wrestling, the details of the fights, the need for money, the need for Sam to assert himself against ‘Python’, the wrestling as providing a climax for the film?
9. How important were love and happiness in this film? As more important than success?
10. How important was the style of filming, the colour, such incidents as ‘Python' chasing Sonia, the fights, the bringing of the press to Mr. Kandinsky? Why are films like this so joyous and entertaining?
