....Asherson who was utterly unlike any female relative or neighbour I had ever met in a town (Guildford) that in those days was aspiringly middle - class with R.P.
and "neece" manners the goal of all of my mother's friends.
My Grandmother sat next to me shaking her head at the Lancashire accents
(Her husband was a Yorkshireman) and Miss Asherson's game attempts at cockney, ready to pounce on any glottal stops I might have caught.
Mr Donat however was a particular favourite of hers,but neither of us knew or
cared that "A cure for love" was his only attempt at directing.
Not long before she died,in a reversal of roles I took her to see a revival of "The Inn of The Sixth Happiness" which,apart from Mr Donat she dismissed as "too long and too noisy";everyone's a critic,eh?
But in 1950,this comfortable and entertaining comedy about how a good man
rebels against the future others have set out for him and finds true happiness
left a good feeling in my 9 year - old chest.
Along with many another British film dismissed or forgotten by the experts who judge it with sixty years of hindsight,"A cure for love" is due a reassessment.
2 Reviews
I was 9 when I first saw "A cure for love" and was spellbound by Renee....
ianlouisiana14 January 2018
Warning: Spoilers
A wimp and his women
Igenlode Wordsmith4 May 2008
A reasonably entertaining Lancashire comedy of a browbeaten soldier home on leave and the two strong-minded women -- the good girl and the bad -- who battle it out to get him. Accents seem pretty sound all round (Donat, playing the lead, was of course a Manchester boy himself), and while the selection of stereotypes is broad, with the first scene or two verging on pure caricature, the various characters are sympathetically treated; in particular Jack's mother, whom we are initially encouraged to dislike for her hard-hearted pragmatism. Renée Asherson makes an attractive wartime incomer in the mill village, although her accent is more RADA than Cockney, let alone Tooting, and Dora Bryan is eye-popping as the brazen floozy with the hero in her snares.
Production values are fairly high, despite the fact that the entire picture was apparently shot in the studio (if you look hard you can tell that some outdoor scenes are studio-bound, but it's well done); the print we saw had a number of obvious splices and soundtrack damage, which resulted in the loss of a few dialogue punchlines. American listeners would probably have trouble with the high proportion of north-country dialect, but to a native speaker it's fairly clear once you've 'got your ear in'.
I suspect that the generous use of dialect invective allowed the script to get a little more past the censor than would otherwise have been the case! This was apparently a project close to Robert Donat's own heart, and as his sole excursion into direction it's a curiosity in his career. Unfortunately it simply isn't anything very special. The comedy is broad, sometimes amusing, never outstanding, the character-work is pleasant but rarely developed (Sarah Hardacre being perhaps an exception), and the turning of the worm is predictable and yet not especially heart-warming. It's a decent enough picture, but not really worth going out of your way for -- and alas, it's not likely to be exactly easy to find, if the condition of the BFI's print is anything to go by...
Production values are fairly high, despite the fact that the entire picture was apparently shot in the studio (if you look hard you can tell that some outdoor scenes are studio-bound, but it's well done); the print we saw had a number of obvious splices and soundtrack damage, which resulted in the loss of a few dialogue punchlines. American listeners would probably have trouble with the high proportion of north-country dialect, but to a native speaker it's fairly clear once you've 'got your ear in'.
I suspect that the generous use of dialect invective allowed the script to get a little more past the censor than would otherwise have been the case! This was apparently a project close to Robert Donat's own heart, and as his sole excursion into direction it's a curiosity in his career. Unfortunately it simply isn't anything very special. The comedy is broad, sometimes amusing, never outstanding, the character-work is pleasant but rarely developed (Sarah Hardacre being perhaps an exception), and the turning of the worm is predictable and yet not especially heart-warming. It's a decent enough picture, but not really worth going out of your way for -- and alas, it's not likely to be exactly easy to find, if the condition of the BFI's print is anything to go by...
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