Picturegoer – April 19th 1952
Four Irish Brogues and a large slice of Englishman
Along with Robert Beatty they’re in Ealing’s new picture about I.R.A. activities, “The Gentle Gunman”
Soft, lilting Irish brogue on the Ealing set. Burrs and purrs and broad vowels. Behind the sounds: John Mills, Dirk Bogarde, Elizabeth Sellars, Barbara Mullen and Robert Beatty.
Try-out for St. Patrick’s Night? Nothing quite so gay. Ealing’s making The Gentle Gunman. It’s about the wartime activities of the Irish Republican Army. Not s urprising, then, that the players have been polishing their Irish accents.
Theme of the piece is that over-zealous patriotism can lead to unnecessary bloodshed. Perhaps we know that already. Is it wise to stir up memories of bygone troubles?
However, the players are pretty happy about their parts. In the title role. John Mills is a former terrorist now disillusioned. He tries to convert brother Dirk Bogarde to his views.
And the sultry Miss Sellars? In the film she loves them both. “But it’s a love stimulated more by danger than by affection.”
“It’s about time I had a break from the spiv stuff,” said Dirk Bogarde. He was looking rather like he did in Hunted shabby raincoat, corduroy trousers, open-necked shirt – but thinner.
“I should think I am!” said Bogarde. “I’ve lost a stone over the past five weeks. Trouble is the play – I’ll never do it again.”
Dirk, apart from filming, is playing in “The Vortex” at a London theatre. Used to the cameras as he is, he still can’t get over the jitters when be faces a live audience.
“I’m terrified every night,” be added. “It’s worn me down.”
Watch Bogarde on the film set, though, and all is smooth and unruffled. I saw him get to work in a cottage scene with Elizabeth Sellars and Barbara Mullen.
Action was to burst through the door with the words – in Irish brogue, of course – ” Maureen. I’m going to Belfast.”
Director Basil Dearden interrupted. “Dirk, if you don’t mind my saying so, you’re speaking that line too fast. I like it at speed but not at the expense of clarity.”
So Dirk tried again, won an “Absolutely perfect,” from the director for his pains.
“Studio Round-up” never could resist the big brown eyes and high cheekbones of Elizabeth Sellars.
Seems that Bogarde approves them. After his part with her in Hunted he let it be known around that he wouldn’t object to another team-up. But it was a coincidence that Liz became a colleen in this picture. They like the coincidence.
During the past few months Elizabeth has been trying her hand at TV plays – and doing well, I’m told.
“The technique is different, of course, and I prefer the studios,” she said. “But it’s an interesting medium and the audiences are running into millions now.”
As I ‘ve said, it’s Irish all round in The Gentle Gunman. But there is just one slice – a bulky slice – of Englishman.
He came rumbling into the studios bit by bit.
Rumble one in the distance: “I’m sorry I’m late.”
Rumble two in background : “I lost my way here.”
Thundering rumble by my side: “I cut myself with my razor this morning. It won’t stop bleeding. Shall I need the make-up man ?”
And I looked up into the broad expanse of Gilbert Harding’s features.
Harding was decked out in cloth cap, big overcoat, yellow socks, fancy waistcoat.
“First film?” I asked.
He nodded, looked restless and kept fingering the sticky plaster on his chin.
“I couldn’t get it to stop bleeding. . . . “
“What part are you playing?”
“An Englishman …. Do you think I should take this plaster off?”
“What type of Englishman?”
“Irascible. . . . I’ve taken it off but it might start bleeding. I’d better see the make-up man.”
And off he charged like a bulldozer in top gear.
I can understand his concern. His casting- as an argumentative Englishman – is about the most perfect of the year, I’d say.
Remember my look-in at Brighton Studios – the set-up I described as being a bit short of “mod cons”? I ‘ve made another call and things have changed a lot.
A go-ahead young man named R. L. Tomlinson intends to direct four pictures there this year and use well-known players.
He outlined the advantages of having studios in Sussex by the sea. “Overheads are reasonable. We just nip down the road for sea locations. A couple of miles and we’re on the Downs and near umpteen pretty villages. Couldn’t be better.”
Now he plans to start on his first picture, Black Pigeon, and hopes to star Peggy Evans and husband Michael Howard.
