A Canterbury Tale Page #11

Synopsis: A 'Land Girl', an American GI, and a British soldier find themselves together in a small Kent town on the road to Canterbury. The town is being plagued by a mysterious "glue-man", who pours glue on the hair of girls dating soldiers after dark. The three attempt to track him down, and begin to have suspicions of the local magistrate, an eccentric figure with a strange, mystical vision of the history of England in general and Canterbury in particular.
Genre: Comedy, Drama, Mystery
Production: Archers
 
IMDB:
7.7
Rotten Tomatoes:
85%
NOT RATED
Year:
1944
124 min
597 Views


for not knowing where you are.

But you get a very good view

of the cathedral now.

Excuse me.

- Is this Rose Lane Garage?

- Yeah.

- You don't want to take her out, miss, do you?

- No, I -

I just want to look at her.

She's a good friend of mine.

- Caravan?

- Yes.

Strewth!

We ain't touched her since the blitz.

What happened to the tires?

Requisitioned.

You know the regulations.

Mr. Portal couldn't let you know 'cause

he had no address for you. He got the receipt.

He'll be glad you're here.

I'll go and tell him.

What a shame.

I knew I should find you here.

I know how you're feeling.

You don't.

Everybody has disappointments in life.

Life is full of disappointments.

The moths are eating everything.

I don't want to hurt your feelings...

but there's something impermanent

about a caravan.

Everything on wheels must be

on the move sooner or later.

Oh, hello, Mr. Portal.

How are you?

How do you do, Miss Alison?

How do you do?

- Do you know Mr. Colpeper?

- Oh, yes, I know Mr. Colpeper.

I knew his father.

How do you do, Mr. Tom?

How are you, Mr. Portal?

Miss Alison, why didn't you

leave us your address?

Two weeks ago Mr. Geoffrey's father came here.

He came here all the way from Otford.

He didn't want the caravan?

He can't have it! It was Mr. Geoffrey's wish

that I should have it!

Well, you were a witness.

You were there when he said it!

No, no, no. It's quite all right, Miss Alison.

He doesn't want the caravan.

He wants to get in touch with you.

I told him that we'd received a letter from you

and that you were coming here.

He's waited for you.

He's staying at the Falstaff.

For over two weeks now

he's waited for you here in Canterbury.

- Why?

- 'Cause he has news, Miss Alison.

Official news about Mr. Geoffrey.

He's in Gibraltar.

Miss Alison!

I must open the windows.

The caravan's full of moths!

They're ruining everything.

I haven't seen so many moths

in all my life!

Mr. Colpeper!

Oh, where's Mr. Colpeper?

He's gone, Miss Alison.

Hey!

Why, you homesick, sad-sack G. I!

Hey, what in Canterbury have you been doing

with your three days' leave?

Learning, Sergeant.

Learning.

Since when did you ever learn anything except

from the Indians? Hey, can I shoot inside?

- We'll ask the verger.

- The what?

The verger.

He's the number one man around here.

Oh. Hey, you don't know

what you missed in London.

- Nightclubs like New York.

- You've never been in New York.

Ah, and girls and telephone numbers.

Wait. I've got a million of them.

- Do you know about the old road?

- That's a new one on me.

- Where is it? Piccadilly?

- "Piccadilly." It's a road, a real one.

Okay, what about it?

It's the Pilgrims' Road.

Gee, even you know

about the Canterbury pilgrims.

Yeah, no, I seem to remember flunking them.

Where does it go to, this old road?

You're standing on it.

It goes right here,

to Canterbury Cathedral.

Come on in. You're a pilgrim yourself,

but you don't know it.

- Hey, let's have some tea first, huh?

- That stuff?

- Sure, it's a habit, like marijuana.

- I'll take marijuana.

You'll drink tea and like it.

I'll drink it, but I won't like it.

There you are, you Canterbury pilgrim.

You can sit right there

and watch the world go by, like in the movies.

Hey, babe.

- What's cooking?

- I beg your pardon?

- What have you got to eat in the kitchen?

- Scones and rock buns.

All right, bring us an order of each

and some tea.

And when you're spooning out the tea

don't forget - one for him, one for me -

- And one for the pot.

- One for the pot.

Looks like she made

the original pilgrimage.

Now look, let me get this straight.

You came here by road, not by train.

I came by train,

but the pilgrims used the old road.

Uh-huh. Why?

For blessings, you character.

For blessings.

- Okay, where's yours?

- Uh-uh.

It don't work nowadays.

That was 600 years ago.

You see? It's just like I've been saying.

Here you are, 600 years too late.

You passed up 72 sleepless hours in London,

and you ain't even got a blessing.

Yes, sir, you're completely

and positively-

It don't work nowadays, huh?

Hey, do I look like

a heavenly messenger to you?

- You look like Mickey Roczinsky to me.

- Oh, yeah?

Well, I, Mickey Roczinsky,

have a blessing for you.

- Oh, no. I've been carrying these for two days.

- Give me those letters!

The whole lot came in the mail

the afternoon you left, from your girl.

- Hey, what stamps are these?

- Australian.

- Australian?

- Yeah, she certainly gets around.

These were mailed in Sydney, Australia.

She's joined the Wacs.

It's your Superintendent Hall.

Want him?

Hymn 293.

293.

"Onward, Christian soldiers...

marching as to war."

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Michael Powell

Michael Latham Powell (30 September 1905 – 19 February 1990) was an English film director, celebrated for his partnership with Emeric Pressburger. Through their production company "The Archers", they together wrote, produced and directed a series of classic British films, notably 49th Parallel (1941), The Life and Death of Colonel Blimp (1943), A Matter of Life and Death (1946, also called Stairway to Heaven), Black Narcissus (1947), The Red Shoes (1948), and The Tales of Hoffmann (1951). His later controversial 1960 film Peeping Tom, while today considered a classic, and a contender as the first "slasher", was so vilified on first release that his career was seriously damaged.Many film-makers such as Martin Scorsese, Francis Ford Coppola and George A. Romero have cited Powell as an influence. In 1981, he received the BAFTA Academy Fellowship Award along with his partner Pressburger, the highest honour the British Film Academy can give a filmmaker. more…

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Submitted on August 05, 2018

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