Another of the very popular Gainsborough Pictures productions made in England in the mid-40's, "Fanny By Gaslight" might just be somewhat transparent, sensationalist and sentimental sub-Dickensian entertainment, but for all that, I happily enjoyed it and can readily comprehend its success with its wartime viewing public.
Adapted from a hit novel of the day, its story, set in late 19th century London revolves around young Fanny, Phyllis Calvert, in another of her do-gooder period-roles, who we first see as a child and who it's fair to say, enjoys an unconventional childhood. Not only do her parents unbeknownst to her run a brothel for high-society gents, but she loses both her father and mother in a short period of time, the former at the hands of James Mason's truculent Lord Manderstroke. Years later, now a young adult, she learns her true parentage and is reunited happily with the prosperous Cabinet minister who obviously had a fling with her mother and fathered her, only for her jealous stepmother to force him to self-destruction under threat of exposing his illegitimate daughter to the public gaze.
Fanny's eventful young life surely is one of snakes and ladders on a grand scale and this really is that big one on the board at square 99 taking you all the way back down again as she is turned out onto the street and struggles to find any kind of work, before ending up helping out at a low-end public house run by her old, now retired family manservant who goes by the wonderful name of Chunks. However, there is a ladder ahead for our Fanny in the form of her real dad's dashing and handsome private male secretary, played with brio by Stewart Granger, himself destined for high office, who she first met and innocently beguiled at her father's estate. Despite the opposition of his super-snobbish mother and sister about her low and scandalous beginnings, he pursues her ardently as a happy ending again comes into view for her. That is, until they encounter in Paris the dastardly Manderstroke again...
One can easily imagine the page-turning potboiler on which it was based and director Anthony Asquith pretty much applies the same technique on the screen. There's even some social commentary on class differences with Granger's Harry Somersford even predicting that one day there will be no class system years from now, but don't go thinking that this feature is some extended Marxist tract, it's just an unpretentiously entertaining rags-to-riches-to-rags-to-riches story of Fanny down our alley.
I enjoyed Calvert's bright-eyed performance as the plucky title-character and Granger and Mason too in their already typecast roles as handsome gallant and pantomime villain respectively. Like I said, the film packs a lot into its 102 minutes and while you'd never mistake it for "War and Peace" , I found it to be a pleasant, undemanding piece of escapism, aimed very much at its captive working-class audience of the day.
Adapted from a hit novel of the day, its story, set in late 19th century London revolves around young Fanny, Phyllis Calvert, in another of her do-gooder period-roles, who we first see as a child and who it's fair to say, enjoys an unconventional childhood. Not only do her parents unbeknownst to her run a brothel for high-society gents, but she loses both her father and mother in a short period of time, the former at the hands of James Mason's truculent Lord Manderstroke. Years later, now a young adult, she learns her true parentage and is reunited happily with the prosperous Cabinet minister who obviously had a fling with her mother and fathered her, only for her jealous stepmother to force him to self-destruction under threat of exposing his illegitimate daughter to the public gaze.
Fanny's eventful young life surely is one of snakes and ladders on a grand scale and this really is that big one on the board at square 99 taking you all the way back down again as she is turned out onto the street and struggles to find any kind of work, before ending up helping out at a low-end public house run by her old, now retired family manservant who goes by the wonderful name of Chunks. However, there is a ladder ahead for our Fanny in the form of her real dad's dashing and handsome private male secretary, played with brio by Stewart Granger, himself destined for high office, who she first met and innocently beguiled at her father's estate. Despite the opposition of his super-snobbish mother and sister about her low and scandalous beginnings, he pursues her ardently as a happy ending again comes into view for her. That is, until they encounter in Paris the dastardly Manderstroke again...
One can easily imagine the page-turning potboiler on which it was based and director Anthony Asquith pretty much applies the same technique on the screen. There's even some social commentary on class differences with Granger's Harry Somersford even predicting that one day there will be no class system years from now, but don't go thinking that this feature is some extended Marxist tract, it's just an unpretentiously entertaining rags-to-riches-to-rags-to-riches story of Fanny down our alley.
I enjoyed Calvert's bright-eyed performance as the plucky title-character and Granger and Mason too in their already typecast roles as handsome gallant and pantomime villain respectively. Like I said, the film packs a lot into its 102 minutes and while you'd never mistake it for "War and Peace" , I found it to be a pleasant, undemanding piece of escapism, aimed very much at its captive working-class audience of the day.