A Canterbury Tale Page #6

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


- Well, you're in Kent.

- And how!

- Don't rub it in.

- Where's the wife and kid?

- Only passing through. I know.

- Who named Old Kent Road?

- Watch yourself.

I don't know what you are

in civil life. You might be cook, clerk...

a doctor, a lawyer, a merchant.

Let me remind you

that as much as 600 years ago...

doctors and lawyers

and clerks and merchants...

were passing through here on the old road

which we call the Pilgrims' Way.

- And cooks.

- Yes. And cooks too.

- Blimey. Cook's tour!

These ancient pilgrims came to Canterbury

to ask for a blessing or to do penance.

You, I hope, are on your way

to secure blessings for the future.

- Any questions?

- Uh, I was thinking, sir.

- Yes?

- What have we got to do with this old road...

and the people who traveled along it

600 years ago?

- Hear! Hear!

- Isn't the house you were born in the most

interesting house in the world for you?

Don't you want to know

how your father lived? And his father?

That's all right,

but how do we know it really happened?

Well, there are more ways than one

of getting close to your ancestors.

Follow the old road,

and as you walk...

think of them

and of the old England.

They climbed Chillingbourne Hill,

just as you did.

They sweated and paused for breath,

just as you did today.

When you see the bluebells

in the spring and the wild thyme...

and the broom and the heather...

you're only seeing

what their eyes saw.

You ford the same rivers.

The same birds are singing.

When you lie flat

on your back and rest...

and watch the clouds sailing,

as I often do...

you're so close

to those other people...

that you can hear the thrumming

of the hoofs of their horses...

and the sound

of the wheels on the road...

and their laughter and talk...

and the music

of the instruments they carried.

And when I turn the bend of the road...

where they too

saw the towers of Canterbury...

I feel I've only to turn my head...

to see them on the road behind me.

Like it?

Mmm.

How about you?

Makes a nice change.

Now I'd like to show you

some drawings and photographs...

of things we found

in recent excavations.

Hey, Bob. Movies.

I don't like free shows.

Something always goes wrong.

First I'll show you the bend

on the Pilgrims' Road.

See?

Sorry. I always do that.

Somebody mind undoing the blackout?

Oh, thanks.

Perhaps our friend will be able to fix it.

He only looks after three Bren carriers.

Pity. I shall only be able to show

half the slides.

By the way, if any of you are really interested,

drop in at my house at any time and have a chat.

- Thank you.

- Are you interested, Miss Smith?

Why shouldn't she be?

I'm interested too.

- Otherwise we wouldn't be here. Right?

- Right.

What interests you especially?

Well, what you were saying.

- Of course, we know we don't know anything

about that sort of thing.

- Oh, yes, we do.

- Do we?

- We know all about the old road.

We know that the pilgrims

weren't the first to use it.

Quite right.

In Surrey it was used by the Romans.

- Here in Kent it certainly goes back to the Iron Age.

- I thought this was the Iron Age.

Pipe down. It's very interesting.

A geologist found some Belgian coins

not far from here some time ago.

Last time I was in London I inquired

at the British Museum about them, but...

I'm afraid they have no record.

- I have them.

- You have them?

Yes. They were left to me

by the man who found them.

I'd be very grateful

if one day you let me see the coins.

Anytime.

After my luggage gets here.

- I wouldn't keep them very long.

- I'm going to give them to this museum.

Not for you.

Thank you.

Very much obliged.

May I ask for

the blackout again, please?

Here we go.

The bend on the Pilgrims Road.

Put that light out!

Okay, okay. Why pick on me?

- Gee! I forgot!

- What?

- The proof. I've got it!

- Tell us about it.

Not here. Topography plays

an important part in my expos.

Hi, buddy.

- Have a cigar?

- Mmm.

- Is this Charing Street?

- I - I - I -Th-That -Th-That's right.

- Leading into marketplace?

- Uh, the - I - I -That -Th-That's right.

- That building there is the town hall?

- I - I - I -That's right.

Now, Mr. Colpeper's office

is the second story window?

- I -That -That - I -That's right.

- Thanks.

Are you by any chance the village idiot?

I -That's right.

There.

Anyway, he is right.

I checked it this afternoon.

- So where does it get us?

- You'll see.

Now, we came down this street.

- Th-Th-That's right.

- That's right.

- We didn't see a light in the town hall.

- Th-That's right.

You're killing me.

When we were in the town hall

the police found Mr. Colpeper in his office.

- Later I saw him there, and so did you.

- That's right.

Oh!

When I was with him in his office...

the janitor, or somebody,

tapped on the window...

and said we were

showing a light outside.

I saw him pull the curtain myself.

- That's very interesting.

- We hadn't seen a light, so it follows -

- That he wasn't in his office.

- Right!

- Maybe he was in such a hurry to draw the curtain

when he got back that he never noticed -

- That's right.

Ah. That's the first real clue

we've had, Alison.

Yes.

I still can't believe that he's the Glue Man.

Well, what motive could he possibly-

- Is that a bus?

- Sounds like it.

- Come on. We must run.

See you tomorrow after church, Alison.

- Good night.

Don't worry about a motive. Good night.

Peter's like the Campbells in reverse -

always going and never coming.

Cigarette?

Thank you.

That was clever of you to work that out.

Yes. Wasn't it?

Make a swell letter home.

"Bob Johnson solves village mystery."

But I forgot.

I - I don't write home anymore.

We shall need the watchman's evidence.

- Hmm.

- You didn't even hear what I said.

I'm sorry, Alison,

but I just can't forget that girl.

A fella goes to war

and into all kinds of dangers and -

What do you find

so dangerous just now?

I don't mean just now.

But I mean, you -you go

and fight in a foreign country and -

I bought her some writing paper.

I write her every time we stop.

And not one line from that blonde.

I guess Ma was right.

She says blondes are no good.

What color's your hair, Alison?

- Blonde.

- No kidding!

Come on. I'll take you home.

And tomorrow I'm going to organize

the local guerrillas.

Hello there.

Can I speak to you for a minute?

- Excuse me. Do you mind not shouting?

- You bet. What's cooking?

A battle. Combined operation.

Backpedal.

I get it.

Say, Colonel -

General.

General Holmes.

This is Commander Topp,

in charge of our landing craft.

- Mind if I come aboard?

- Not at all.

- At your own risk of course.

- Sure.

Bring her aside.

Here I come.

- Can we have a talk now?

- Shh-shh-shh-shh.

I'll put a scout ashore.

Okay, onto the bank.

Would you mind taking a paddle?

Sure.

Fire, boys, fire!

Surprise attack!

Take cover! Take cover!

Aim at the cannon!

Aim at the cannon!

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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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