Though 'The Maggie (1954)' is probably the weakest of the five Ealing Studios comedies I've seen to date {the others being 'The Ladykillers (1955),' 'The Man in the White Suit (1951),' 'The Lavender Hill Mob (1951)' and 'A Run for Your Money (1949)'}, it remains an enjoyable British comedy that successfully celebrates the plight of the common man. Directed by Alexander Mackendrick, an interesting director if there ever was one, the film might seem a bit lightweight considering his follow-up directorial effort, but 'The Maggie' promises ninety minutes of cheerful entertainment and delivers just that. The film explores the "clash of cultures" that takes place when a wealthy American businessman unwittingly hires the rascally captain of a battered old Clyde puffer to deliver some expensive cargo. The first half, perhaps the stronger of the two, is a hilarious water-bound chase, as the American, Calvin B. Marshall, struggles to reclaim the shipment he entrusted to the grizzled Captain Mactaggart. The second half is more reserved and reflective, as Marshall experiences a frustrating but ultimately liberating journey of self-discovery.
First and foremost, what makes 'The Maggie' work is its assembly of likable, contrasting characters: Mactaggart (Alex Mackenzie), the skipper, was born on his boat, and is hopelessly devoted to it, in a way that only a seaman could be. Though he does occasionally act irresponsibly, he is only trying to make a decent living, a basically honest man despite his opportunistic nature. Calvin B. Marshall (Paul Douglas), on the other hand, is extremely wealthy and successful, and he considers himself such. Though he is currently battling marital problems, he wishes to remedy the situation by delivering a shipment of expensive furniture to their holiday house. Then there's Mr. Pusey (Hubert Gregg), an uptight British gentleman whose prim and proper facade is punctuated by moments of bumbling stupidity; in the film's funniest sequence, Pusey is cleverly framed for poaching and arrested after a violent scuffle with the local magistrate. Another very important character is Dougie, "the wee boy" (played by Tommy Kearins in his only film role), an intelligent but idealistic young lad who helps teach Marshall the importance of kindness and understanding.
For the character of Marshall, the film's pivotal moment comes during a 100th birthday celebration for one of Mactaggart's old sea colleagues. After being convinced to stay around and enjoy the party, Marshall finds himself talking to a nineteen-year-old girl with a romantic dilemma. Though she is expected to marry an already-successful young man with a financially-secure future, the girl instead plans to wed a modest fisherman, who would never take her for granted and would always return from the sea and into her arms. This strikes a significant chord with Marshall: his all-important shipment of furniture is, indeed, a material means of repairing his tattered relationship with his wife. What he never understood until now is that the secret behind maintaining a happy marriage is not the presentation of endless streams of expensive but hollow gifts; a loving husband must always show the proper respect and affection towards his wife, otherwise she could never be content with him. Believe it or not, a brief oceanic journey with Captain Mactaggart proves a life-changing experience, turning a selfish and money-obsessed American into somebody respectful enough to name a boat after.
First and foremost, what makes 'The Maggie' work is its assembly of likable, contrasting characters: Mactaggart (Alex Mackenzie), the skipper, was born on his boat, and is hopelessly devoted to it, in a way that only a seaman could be. Though he does occasionally act irresponsibly, he is only trying to make a decent living, a basically honest man despite his opportunistic nature. Calvin B. Marshall (Paul Douglas), on the other hand, is extremely wealthy and successful, and he considers himself such. Though he is currently battling marital problems, he wishes to remedy the situation by delivering a shipment of expensive furniture to their holiday house. Then there's Mr. Pusey (Hubert Gregg), an uptight British gentleman whose prim and proper facade is punctuated by moments of bumbling stupidity; in the film's funniest sequence, Pusey is cleverly framed for poaching and arrested after a violent scuffle with the local magistrate. Another very important character is Dougie, "the wee boy" (played by Tommy Kearins in his only film role), an intelligent but idealistic young lad who helps teach Marshall the importance of kindness and understanding.
For the character of Marshall, the film's pivotal moment comes during a 100th birthday celebration for one of Mactaggart's old sea colleagues. After being convinced to stay around and enjoy the party, Marshall finds himself talking to a nineteen-year-old girl with a romantic dilemma. Though she is expected to marry an already-successful young man with a financially-secure future, the girl instead plans to wed a modest fisherman, who would never take her for granted and would always return from the sea and into her arms. This strikes a significant chord with Marshall: his all-important shipment of furniture is, indeed, a material means of repairing his tattered relationship with his wife. What he never understood until now is that the secret behind maintaining a happy marriage is not the presentation of endless streams of expensive but hollow gifts; a loving husband must always show the proper respect and affection towards his wife, otherwise she could never be content with him. Believe it or not, a brief oceanic journey with Captain Mactaggart proves a life-changing experience, turning a selfish and money-obsessed American into somebody respectful enough to name a boat after.