Curapedi
I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.
JohnHowardReid
Music conducted by Muir Mathieson. RCA Sound Recording. Associate producer: Vivian Cox. Producer: Paul Finder Moss. Copyright 1 September 1954 by Facet Productions Ltd, London. Released through Columbia Pictures. New York opening at the Fine Arts: 1 November 1954. U.S. release: March 1955. London trade show: June 1954. Australian release: 9 June 1956 (sic). Sydney opening at the Lyceum. 8,200 feet. 91 minutes. Cut to 86 minutes in the U.S.A. (Until recently, this superb movie was only available on VHS, but Sony have now released a full 95 minutes version on DVD).U.S. release title: the DETECTIVE. U.K. release title: FATHER BROWN.SYNOPSIS: A master thief has his eyes on the priceless Cross of St Augustine carried by Father Brown on his way to Rome.COMMENT: A delight. True, the screenplay isn't quite as colorfully witty or chock-full of weird surprises as the original Chesterton pieces, (and the long arm of co-incidence in the story line strains — but by no means shatters — credulity in one or two places), but the writers make some pretty ingenious stabs in the right directions. Moreover, the direction is so deft and pacey, there's no time to ponder any trivial inconsistencies of plot or characterization. Plus the movie has been produced on a class "A" budget, with lots of extras milling around in plenty of fascinating sets and real-life locations.Aside from the polished screenplay, astute direction, sprightly music score and appealing visuals, the movie excels in its acting department. Alec Guinness makes a fine Father Brown, every inch as likable — and accurate — as Chesterton's creation, whilst Finch enjoys one of the best roles of his career as the masterful yet quirky misanthropic thief, Flambeau. Supporting honors lie in the hat-tossing hands of such stalwart character players as Bernard Lee, Sid James, Ernest Thesiger, Cecil Parker, John Salew, and Gerard Oury.Oddly, despite its credentials as one of the best British comedies of the year, plus box-office super-favorites Guinness and Finch in the leads, the movie was not successful in Australia. Perhaps the lack of a traditionally boring love interest swayed audiences to give the picture a miss. True, Joan Greenwood is co-starred, but her role is small and colorless.OTHER VIEWS: While the movie has not a great deal in common with Chesterton, does it really matter? On its own terms, the movie is mightily engaging. Not just for its performances, although these are no mean attractions. Guinness makes Brown so deliciously sly, full of almost mischievous humour, whilst Finch's equally appealing portrait of the suave, melancholy Flambeau, Joan Greenwood's charmingly mannered aristocratic parishioner, Sid James' fluent reformed thief, Cecil Parker's lordly bishop and Ernest Thesiger's fumbling master of heraldry, add greatly to the overall merriment. What makes Father Brown such an unalloyed delight is not just the story and the stars — appealingly attractive though they be — but Robert Hamer's stylish direction which — as Penelope Houston points out in her Monthly Film Bulletin review — has such a wonderfully detached, highly civilized air, "the more welcome because, in the British cinema, it is so uncommon."But what more could you expect of the director of Pink String and Sealing Wax, It Always Rains on Sunday, Kind Hearts and Coronets, and The Long Memory? JHR writing as George Addison.
tomsview
I remember seeing this film back in the 1960's on television, but it seemed to disappear for decades - from Australian television at any rate.Along with the delicious pairing of Alec Guinness as G.K. Chesterton's Father Brown and Peter Finch as master thief Flambeau, I always remembered the great photography shot on location in England and France, which gave the film a rich texture.This is such a complete movie. It has an interesting story; Father Brown immerses himself in the world of crime in order to save the souls of criminals. He matches wits with Flambeau who steals priceless works of art including a famous crucifix that the good father was guarding. The story builds to a brilliant climax in a village in France.The film is a joy to look at; Although it was not an Ealing film, it has that same sense of artistry as classics such as "The Lavender Hill Mob" and "The Ladykillers" with sumptuous interiors and classy black and white photography that was so distinctive of British films of the time.The film is a mystery and although it has an extremely light touch and witty lines, it's not really a comedy. There are also some nice pieces of detection as Father Brown tracks down Flambeau. Although the film is a brilliant two hander between Guinness and Finch it also has some perfect supporting roles, especially Joan Greenwood as Lady Warren.For soundtrack buffs, the film has a score by Georges Auric. However, although he came up with a fine theme for Father Brown, I think he may have been guilty of a little too much 'Mickey Mousing' in some scenes - it's my only criticism of the film, albeit a slight one.Recently (2015), Mark Williams starred in a very good series based on the "Father Brown" stories. Of course it's a series in the mould of "Miss Marple" and "Hercule Poirot". Anyone who feels crime movies need screeching tyres; shattered windscreens, arterial blood spray and Jason Stratham are probably not likely to pay too much attention to any manifestation of "Father Brown".However, the 1954 movie has that touch of indefinable movie magic. It also can't help but generate a feeling of nostalgia in people brought up in the 1950's when values and institutions seemed more straightforward - on the surface at least. It's a gem of a movie worth discovering and rediscovering.
ctyankee1
Father Brown is an unusual Priest. He tries to get people back on the right track that have sinned and gone a stray.He does this by undoing the crimes they have committed like stealing. He will return the stolen items.He has a Cross that is likely to be stolen by a crook no one can identify. Father Brown is out to find that crook and bring him back to Christ.Some of the story takes place in church to me it is very inspirational. He explains what most people do not know is that he hears the confessions of a lot of different kinds of people and he wants them to repent and come back to God.It is heart warming to hear Scripture and also the stories of the bad people he meets and then tells them they don't have to be the way they are.This is one movie where they are not mocking Priest, Catholics or those who believe in God. Funny and inspirational.You can see it on Youtube. Father Brown The Detective 1954 (Alec Guiness) http://www.youtube.com/watch?v=4gqwXeHI85A
dbborroughs
Second screen adaption of GK Chesterton's classic story that has Father Brown taking on Flambeau a notorious thief. In the original Walter Connelly took on Paul Lukas. Here its Alec Guinness taking on Peter Finch and for my money its the better of the two versions I've seen. In th original I found everything stilted and Brown came across as very annoying with an attitude that he was some how better than everyone else. Here Guinness is clearly in charge of the situation, however he never lets anyone think anything other than that they are in control, which he manages to twist so that he comes up on top. Its a winning performance. I think the fact that this film originated in England helps give it the right feel. The film makers clearly understand Chesterton and their film is an enjoyable representation of his story. Very recommended
