A delightfully innovative comedy that transcends the heavens and stands as my favorite of Michael Powell's legendary filmography.
A Matter of Life and Death kicked off
Powell and Pressburger’s golden period of auteurism that would last from 1946-1948: the three films released during these years saw the masters at their most visually innovative and it’s where most of their iconic images were birthed. They were at their aesthetic peak, surrounded by a crew of incredible artists.
Cinematographer
Jack Cardiff would shoot all three films for them, turning light into clay, morphing it how he pleased. His eye for composition opened up new photographic possibilities; his psychological understanding of color allowed him to whisper secrets to the audience’s subconscious.
Editor
Reginald Mills would also be employed for this three-year period: his pacing was exquisite, helping to define the atmospheric dreaminess of the films, having an expert knowledge of when to hold and when to cut - especially in comedic scenes.
The epic scope and scale of
Alfred Junge’s seminal production design - his work can also be seen in
The Life and Death of Colonel Blimp (1943), and he would be present on their next project as well - enabled Powell and Pressburger to fully realize their colossal, panoramic, fantastical artistic visions - visions that may have quickly overwhelmed most others - on a consistent basis.
A Matter of Life and Death stands as my personal favorite of Powell’s (and Pressburger’s) oeuvre. It shows the two filmmakers at their most experimental and playful behind the camera, and their most endearing in front, with dialogue so witty and charming it’ll turn your face into the heart-eyes emoji. The movie is half technical marvel, half life-affirming comedic romance about the cosmic, heavens-halting, death-transcending power of love.
The story follows a British pilot, scheduled to die in a plane crash but unintentionally eluding death in the fog, and the American radio operator he falls in love with. In order to keep their new life together, he must argue his case for living against a bureaucratic celestial court. It also offers a unique take on the afterlife, with heaven in black-and-white, and the world of the living in radiant color.
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