I watched this in tribute to Olivier’s 100th Anniversary (I had it recorded off local TV for several years!); I’ve a few other unwatched Oliviers, such as THE PRINCE AND THE SHOWGIRL (1957; which he also directed) and THE BETSY (1977), but both are clearly minor efforts. Besides, I’ve yet to catch up with a couple more Korda productions on VHS – THE PRIVATE LIFE OF DON JUAN (1934; also directed by him) and LYDIA (1941; Julien Duvivier’s Americanized remake of his own UN CARNET DE BAL [1937]).
Made by Korda’s London Films (and distributed by United Artists) during the influential producer/director’s brief sojourn in Hollywood, the film was designed as both a vehicle for the Laurence Olivier/Vivien Leigh team and as propaganda for Britain’s war effort (the script, written by Walter Reisch and R.C. Sheriff, equates Napoleon Bonaparte all-too-obviously with Hitler); still, it doesn’t refrain from showing the tragedy of war – Nelson himself loses an eye and a hand and, finally, has his spine broken by a bullet! It’s a typically opulent production (cinematography by Rudolph Mate' and sets designed by another Korda, Vincent), climaxing with a spectacular sea battle (highlighting Lawrence Butler’s special effects and a Miklos Rosza score) and winning the film an Oscar for Sound Recording.
Long and occasionally melodramatic (an incident which I learned from the history books, for instance – detailing the Brits’ attempt to retrieve Malta from the French – is depicted here as having been compromised by the Lady Hamilton/Admiral Nelson affair), but always interesting – with the stars’ scenes together having a genuine sparkle to them. Incidentally, this was their only pairing as a married couple and they both deliver fine performances – Leigh’s character is somewhat similar to her Scarlett O’Hara in GONE WITH THE WIND (1939), while Olivier makes for a vigorous and dashing Nelson (despite the necessity to wear disfiguring make-up for a good part of the running-time). The supporting cast, then, is peppered with familiar character actors of the era – led by Alan Mowbray and Gladys Cooper as the two lovers’ respective long-suffering spouses (the former’s death scene, having gone mad, is especially moving), and also including plum roles for Sara Allgood (as Emma’s mother) and Henry Wilcoxon (as Nelson’s lieutenant).
Other films have been made about this famous historical affair, notably the Silents LADY HAMILTON (1921) – with Conrad Veidt as Nelson – and THE DIVINE LADY (1929) – which won director Frank Lloyd his first Oscar – and, years later, BEQUEST TO THE NATION (1973) – with Glenda Jackson as Lady Hamilton and Peter Finch as Admiral Lord Nelson; THAT HAMILTON WOMAN (which, by the way, is said to be Winston Churchill’s favorite movie!) is the only one I’ve watched myself.
Made by Korda’s London Films (and distributed by United Artists) during the influential producer/director’s brief sojourn in Hollywood, the film was designed as both a vehicle for the Laurence Olivier/Vivien Leigh team and as propaganda for Britain’s war effort (the script, written by Walter Reisch and R.C. Sheriff, equates Napoleon Bonaparte all-too-obviously with Hitler); still, it doesn’t refrain from showing the tragedy of war – Nelson himself loses an eye and a hand and, finally, has his spine broken by a bullet! It’s a typically opulent production (cinematography by Rudolph Mate' and sets designed by another Korda, Vincent), climaxing with a spectacular sea battle (highlighting Lawrence Butler’s special effects and a Miklos Rosza score) and winning the film an Oscar for Sound Recording.
Long and occasionally melodramatic (an incident which I learned from the history books, for instance – detailing the Brits’ attempt to retrieve Malta from the French – is depicted here as having been compromised by the Lady Hamilton/Admiral Nelson affair), but always interesting – with the stars’ scenes together having a genuine sparkle to them. Incidentally, this was their only pairing as a married couple and they both deliver fine performances – Leigh’s character is somewhat similar to her Scarlett O’Hara in GONE WITH THE WIND (1939), while Olivier makes for a vigorous and dashing Nelson (despite the necessity to wear disfiguring make-up for a good part of the running-time). The supporting cast, then, is peppered with familiar character actors of the era – led by Alan Mowbray and Gladys Cooper as the two lovers’ respective long-suffering spouses (the former’s death scene, having gone mad, is especially moving), and also including plum roles for Sara Allgood (as Emma’s mother) and Henry Wilcoxon (as Nelson’s lieutenant).
Other films have been made about this famous historical affair, notably the Silents LADY HAMILTON (1921) – with Conrad Veidt as Nelson – and THE DIVINE LADY (1929) – which won director Frank Lloyd his first Oscar – and, years later, BEQUEST TO THE NATION (1973) – with Glenda Jackson as Lady Hamilton and Peter Finch as Admiral Lord Nelson; THAT HAMILTON WOMAN (which, by the way, is said to be Winston Churchill’s favorite movie!) is the only one I’ve watched myself.