CommentsXp Best movie ever!

Beanbioca As Good As It Gets

Numerootno A story that's too fascinating to pass by...

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Alex da Silva Michael Redgrave (Charleston) is a lighthouse keeper on a remote lighthouse on Lake Michigan. He used to be a reporter but no-one listened to his warnings about the evils of the emerging New Order in Germany and Italy. Disillusioned with mankind he chooses to live away from it all. His friend James Mason (Streeter) tells him that he thinks he is a coward and the two fall out, leaving Redgrave alone on the lighthouse island. But is he alone? It's an interesting premise for a film and it scores with me for doing something different. However, it does drag on a little which is a shame. I wanted this film to be an eye-opening ghost chiller with a message but it only drives home a rather obvious point and isn't scary as such. It is other-worldly which is good. And there is a climax scene where the ghostly images are presented with the truth about their lives. Are they real ghosts or images conjured up in Redgrave's head? The film favours the latter for a means of wartime propaganda but the film would have been better if the former was what is actually happening. It is, of course, actually happening for Redgrave so we go along with him. But, if it was actually happening…….spooky…… As an aside, I always thought it would be a weird experience to live on a lighthouse. Turns out my wife has a lighthouse connection as one of her great ancestors was a Lighthouse Keeper at Dover. Whilst the custodian, English scientist Michael Faraday helped install the light there and Italian engineer Marconi transmitted the first radio signal abroad from it. He sent a signal over to France……..and we now have the Eurovision Song Contest…..so it was totally worthwhile.

blanche-2 Based on a play, "Thunder Rock" is a 1942 film that follows the fascination with ghosts that seems prevalent at the time, just as it is prevalent in ours. There was "Between Two Worlds," which was the remake of "Outward Bound," "The Ghost and Mrs. Muir," "Heaven Can Wait," "Here Comes Mr. Jordan," - etc.! I won't go into the angels - "It's a Wonderful Life," "The Bishop's Wife," etc. The war caused people to think about death and the afterlife a great deal."Thunder Rock" is about a newspaperman David Charleston, (Michael Redgrave) who saw the rise of Fascism and Nazism and tried to warn people to wake up and take action. Unfortunately, his editors wouldn't allow the doom and gloom. His response is to give up and take a job as a lighthouse keeper on Thunder Rock in Lake Michigan. There, he becomes interested in a ship's log of a ship that went down 90 years earlier. He begins to have conversations with them in his mind. None of the passengers know they're dead except for the captain (Finlay Currie). He shows David how each of these people came to be on the ship. There's a doctor driven out of Vienna for using an early form of anesthesia (Frederick Valk), an early feminist (Beverly Mullen) jailed repeatedly for her views, a man and his wife en route to America to try for a better life for their family.There are several themes present in this film - the themes of keeping hope, not giving up one's quest, and affirming life, certainly important ideas in a time of war. There's also the theme of reincarnation, as one of these people could have been Charleston. In the beginning of the film, there is the communication of information from one person to another to another to another, as knowledge is passed through generations.Redgrave is excellent, as are Finlay Currie, Beverly Mullen, James Mason (as David's friend) and a young Lili Palmer as the doctor's daughter. In fact, the whole cast is good, including a young Barry Morse in his pre-"The Fugitive" days, as the ex-fiancée of Beverly Mullen.Beautifully photographed and thought-provoking.

Neil Doyle The 1940s was certainly the decade where Hollywood was producing many films with psychological overtones (everything from SPELLBOUND to POSSESSED to THE SNAKE PIT), so it comes as no surprise that Britain was also delving into stories where such elements were found in some of the prominent British films of that decade--films like BLACK NARCISSUS where madness overtakes a woman's mind and leads to attempted murder. Here, it's the supernatural that takes center stage.THUNDER ROCK has an intriguing premise and deals more with the supernatural and the effect that the ghostly inhabitants of a lighthouse have on the mind of a disillusioned war correspondent during the WWII era. MICHAEL REDGRAVE is the writer who retreats to a lighthouse in Lake Michigan when he wearies of a world drifting toward fascism and loss of freedom as the Nazi menace increases. His books and speeches meet with indifference by an uncaring public. The inhabitants of the lighthouse (from an 1849 shipwreck) inspire him to have courage and go on with his life and fight for his beliefs.Unfortunately, the allegorical fable of a man visited by the spirits of dead passengers who lost their lives at sea doesn't ring true. The heavy handed treatment of a delicate theme doesn't help. In short, the story never reaches the kind of potential it had--and despite good acting by the entire cast, especially by a young MICHAEL REDGRAVE and JAMES MASON. LILLI PALMER has little to do in a minor role but look worried and decorative.Should have been a memorable film, but the tale is not smoothly told. Instead, it's both overlong and uneven, falling far short of the mark. Perhaps it worked better as a play or novel, but the screen version is too diffuse, overlong and preachy to make a lasting impression.Trivia note: In overall concept, the story is reminiscent of the play "Outward Bound" which was filmed in the '30s and remade in the '40s as BETWEEN TWO WORLDS, a more successful allegory/fantasy.

bob the moo When the authorities discover a lighthouse keeper is not cashing his paychecks, they go to visit him to make sure he is OK. One of the visitors gets into a chat with the lighthouse keeper, David Charleston and discovers that his desire to stay in the lighthouse is based on the fact that he is in contact with the ghosts from a ship that sunk many years ago; although the ghosts do not know they are dead. Charleston hides away - having been frustrated by those in power ignoring his warnings about fascism. However he finds that each passenger has had similar experiences that he, with the benefit of future knowledge, can learn from.The point of this film is both obvious but also too obscure. The message of not giving up is laboured at the end, but for the majority of the film, it is hidden and damages the early meaning of the film. The pre-war setting is a morale boosting tale of sticking at it - for we never know what tomorrow will bring; it delivers a reasonable tale but I found it hard to get into the stories of the various passengers as they were not characters I was given a lot of time to get into and care about. The stuff with Charleston himself works better as I cared about him due to the time spent with him.The film is very stagy however, it doesn't really flow very well at times and the best scenes are played out as if in a theatre. It is rather heavy at times but it still works if you know what to expect. The cast is OK but really it is all Redgrave's film. He exaggerates his performance as if he is on a stage and needing to project to the back row, but he is still very good. Mason has a minor role but always has such a good presence that it is hard to fault him. The support cast of passengers is less assured and really never get close to being real people - instead their dialogue and stories are too heavily laden with meaning.Overall this is a reasonably good propaganda. It has more meaning and human pathos than most WWII propaganda films as it is not anti-enemy but pro-spirit and persistence. It may all be a little heavy and too stagy but it is enjoyable if you can do enough to get past the heavy message and some overly worthy acting.