Mandy and A Boy Ten Feet Tall

Mandy Miller as Mandy.

Mandy (aka Crash of Silence) (1952). The lives of Christine and Harry Garland are thrown into turmoil when they discover that their young daughter, Mandy, is congenitally deaf. The parents grapple with their own misconceptions and differing views on how to best support Mandy. Should she be kept at home for private tutoring, as her grandparents suggest, or placed in a school with other deaf children? The tension between the parents, fueled by suspicions of an affair, add emotional weight to the narrative. The first-rate British cast shines all around. Phyllis Calvert and Terence Morgan capture the parents’ emotional struggles as they try to determine if their actions reflect what they want or what their daughter Mandy needs. Jack Hawkins shines as an instructor at the deaf school, whose intense focus on his students puts him at odds with an influential member of the school's board. Finally, there is the young actress Mandy Miller (who was not deaf in real life), who plays Mandy. With very limited dialogue, she expresses the young girl's loneliness, confusion, and frustration, especially when placed in the boarding school and separated from her family. (Incidentally, that's Jane Asher--Paul McCartney's one-time girlfriend--as Mandy's eventual friend at school.) Director Alexander Mackendrick, best known for his Ealing comedies and the noirish Sweet Smell of Success (1957), deserves praise for sensitively portraying Mandy’s world. Through her eyes, we witness the challenges of communication, isolation, and the desire to connect with others. (You can stream Mandy for free on the Million Dollar Movie Classics channel.)

Fergus McClelland and Edward G. Robinson.

A Boy Ten Feet Tall (aka Sammy Going South) (1963).  Another Alexander Mackendrick film with a young protagonist, A Boy Ten Feet Tall focuses on ten-year-old Sammy Hartland. After his parents are killed during the Suez Crisis in 1956, Sammy embarks on an epic journey from Egypt to South Africa. Armed with only a toy compass and the knowledge that his goal to is to travel south, Sammy sets out to find his aunt in Durban. He encounters a variety of characters along the way, including: a Syrian nomad who hopes to profit off Sammy; a well-meaning American tourist; and a kind-hearted diamond smuggler. Despite the immense challenges he faces, including the loss of his parents and the daunting task of traveling across a continent, Sammy remains determined and resourceful. His character evolves from a vulnerable child into a strong and independent young boy, showcasing his inner strength and adaptability. Newcomer Fergus McClelland makes a likable lead, but Edward G. Robinson delivers the film's standout performance as Cocky Wainwright, the diamond smuggler who temporarily becomes Sammy’s surrogate father. Robinson brings warmth and subtle compassion to the role, creating a character that is both gruff and endearing.  Director Mackendrick masterfully allows the audience to see the events through Sammy’s eyes, much as he did with the young protagonist in Mandy. This perspective ensures that the film remains focused on Sammy’s emotional journey, making it a poignant and engaging--if episodic--adventure. The mostly on-location shooting brings a raw, realistic quality to the film, highlighting the vastness and beauty of the African continent. This review is based on the 118-minute cut of A Boy Ten Feet Tall, which you can view stream for free on the Million Dollar Movie Classics channel. The original 129-minute version is believed to be lost. An 88-minute version was released to theaters in the U.S. in the 1960s.

The Crimson Kimono and The League of Gentlemen

James Shigeta as Detective Joe Kojaku.

The Crimson Kimono (1959). Writer-director Samuel Fuller's once-controversial cult film revolves around two police detectives, one Caucasian and one Japanese, who try to solve a complicated murder case involving a stripper in the Japanese quarter of Los Angeles. Along the way, both detectives fall in love with a key witness, leading to a love triangle that threatens their friendship. Fuller's on-location shooting, in and around Little Tokyo in L.A., gives The Crimson Kimono a vibrant and gritty feel. It's a perfect setting for a quirky film noir and the opening scene, in which stripper Sugar Torch is fatally shot as she runs into a busy street, promises as much. However, Fuller's primary interest lies elsewhere, leading to a plot detour into an examination of the relationship between detective Joe Kojaku (James Shigeta) and Chris, an art student (Victoria Shaw). Joe has to cope with his own cultural norms (his family expects him to marry a Japanese woman) and what he perceives as racial bias from Charlie (Glenn Corbett), his detective partner and longtime best friend. It's an interesting theme and James Shigeta effectively conveys Joe's inner struggle. Still, it's a shame that there's little left time left for the mystery. When it gets wraps up quickly at the climax, I felt that Fuller had cheated me out of a potentially brilliant film noir.

Jack Hawkins as Norman Hyde.

The League of Gentlemen (1960). Forced into retirement, Lieutenant Colonel Norman Hyde (Jack Hawkins) recruits seven former army officers, each facing desperate or humiliating circumstances, for a bank robbery. Hyde convinces the team that a large-scale crime, planned and executed with military precision by former soldiers, is a "can't miss" proposition, It also helps that he guarantees each man a payout of over £100,000 (equates to $2.9 million in 2024). Like the heist it depicts, The League of Gentlemen is a well-executed film that grabs the viewer from its opening shot: Hyde, dressed in black tie, emerges from a manhole on a London street at night. While the climatic heist is sufficiently engrossing, the film's highlight is an earlier theft of weapons from an army depot. It allows the always entertaining Roger Livesey to impersonate an army general looking into a fictitious complaint about inedible army food. In addition to Hawkins and Livesey, the fine cast includes Richard Attenborough, Nigel Patrick (delightful as the second-in-command), and Bryan Forbes (who co-wrote the screenplay with John Boland). My only quibble with The League of Gentlemen is its ending. It works well enough...it's just not what I wanted to happen (which is not a valid complaint at all).