A Matter of Life and Death (1946) User Reviews

Wonderful

[btillman63 · 9/10 · 22 April 2004]

Enchanting, romantic, innovative, and funny. The vision of this extraordinary film is almost unparalleled, exceeding better known "death romances" such as Ghost. While we know intuitively that Peter and June will find ultimate happiness at the end of that long-long stairway, the joy is in the journey. The moral of the tale, of course, is timeless: love conquers all. But the struggle to achieve that victory is played in a celestial arena of sweeping vision and gripping grandeur. With more than 500 suitably clad extras portraying various ages and cultures, the directors' vision of heaven remains memorable six decades later, far into the CGI era.

Yet for all the cosmic scale, Powell and Pressburger knew an essential truth: the best story is told at the smallest level. The wonderfully, determinedly romantic aspect of "Stairway" is captured with ultimate simplicity: June's teardrop, preserved on a rose petal.

This film, like the story and the set itself, is one for the ages.

A Classic Movie

[Theo Robertson · 9/10 · 4 October 2005]

If you want to be cynical and pedantic you could point out that the opening where a RAF Lancaster bomber is mortally wounded on the 2nd of May 1945 is somewhat unlikely since German air defences were as lively as Adolph Hitler on that day but this isn't a movie that should be viewed by a cynical audience and I guess a character being killed in literally the last hours of the war adds to the poignancy . In fact you'd have to have survived the second world war to fully appreciate the intellect , beauty and soul of Powell and Pressburger's masterpiece . The scenes of heaven are painfully twee when viewed today ? Again you have to view the movie of the context when it was made . RAF bomber command lost 58,000 men during the war , the same number that America lost in 'Nam but during a shorter period and a far , far smaller pool of active combatants , there's no atheists in a fox hole and I doubt if you'd lost a relative during the conflict you'd view material atheism as being a sensible thing . When Richar Attenborough's young pilot looks down in awe at the sight below him many war heroes must have openly wept at this scene as they remembered much missed comrades who didn't survive the war . Also bare in mind that despite losing several million people from 1939-45 there seems to be very few people from Germany passing through the pearly gates . it's obvious Nazis don't go to heaven

The plot itself where dashing young pilot Peter Carter arguing for his life in front of a celestial court wouldn't have had much appeal to me if it wasn't for the subtext , you see A MATTER OR LIFE AND DEATH is a highly political and visionary film that laments the end of the British empire as it's replaced by American ambitions . There's little things that show up the film as being made by people aware of American history and culture . One is the ethnic mix of America , even today many Britons think that the USA is overwhelmingly composed of White Anglo Saxon Protestants when in fact only 51% of Americans are " White European " . The film rightly contains a scene where a multitude of different races confess " I am an American " as Peter is judged by Abraham Farlan , an Anglophobe who was the first revolutionary killed by British forces in The American War Of Independence . As for the " special relationship " between Britain and America - What special relationship ? Powell and Pressburger know their history when it comes to Britain and America . They obviously know their future too

So remember to watch this movie with some of your mind in the past and some of your mind in the present . It's strange , beautiful , poignant and clever but most of all it's a film that would never ever work if it were made in the last 40 years . Can you imagine if the story was set in 2003 and revolved around a British soldier killed in Iraq ?

Beautiful

[jonathandoe_se7en · 10/10 · 20 October 2001]

A Matter of Life and Death, what can you really say that would properly do justice to the genius and beauty of this film. Powell and Pressburger's visual imagination knows no bounds, every frame is filled with fantastically bold compositions. The switches between the bold colours of "the real world" to the stark black and white of heaven is ingenious, showing us visually just how much more vibrant life is. The final court scene is also fantastic, as the judge and jury descend the stairway to heaven to hold court over Peter (David Niven)'s operation.

All of the performances are spot on (Roger Livesey being a standout), and the romantic energy of the film is beautiful, never has there been a more romantic film than this (if there has I haven't seen it). A Matter of Life and Death is all about the power of love and just how important life is. And Jack Cardiff's cinematography is reason enough to watch the film alone, the way he lights Kim Hunter's face makes her all the more beautiful, what a genius, he can make a simple things such as a game of table tennis look exciting. And the sound design is also impeccable; the way the sound mutes at vital points was a decision way ahead of its time

This is a true classic that can restore anyone's faith in cinema, under appreciated on its initial release and by today's audiences, but one of my all time favourites, which is why I give this film a 10/10, in a word - Beautiful.

Timeless Classic

[voiceof67 · 10/10 · 21 December 2004]

Few movies can be viewed almost 60 years later, yet remain as engrossing as this one. Technological advances have not dated this classic love story. Special effects used are remarkable for a 1946 movie. The acting is superb. David Niven, Kim Hunter and especially Roger Livesey do an outstanding job. The use of Black and White / Color adds to the creative nature of the movie. It hasn't been seen on television for 20 years so few people are even aware of its existence. It is my favorite movie of all time. Waiting and hoping for the DVD release of this movie for so many years is, in itself, "A Matter of Life and Death".

Simply Beautiful

[Jmhl3 · 13 August 2006]

A Matter of Life and Death had me stunned when I first saw it. The marvellous opening, makes you feel like you are floating among the stars in a place of your own. Then it moves to the horrors of war and the down side of life, men dead and more to follow. The story has already been told a thousand times by other reviewers who were as enchanted by this film as I was. The cinematography, the story, everything was just right. In my book it is the greatest film ever made. I liked the way that the earth is in sometimes beautiful, sometimes gritty Technicolour, then what is above is in mystical Black and White. To my dying days I will always love this film. See it before you die.

A young WWII airman misses his heavenly call, and challenges the laws of the universe to remain on earth.

[Loretta · 10/10 · 20 August 1998]

I LOVE this movie. Director Michael Powell once stated that this was his favorite movie, and it is mine as well. Powell and Pressburger created a seemingly simple, superbly crafted story - the power of love against "the powers that be". However, its deception lies in the complexity of its "is it real or is it imaginary" premise. Basically, one could argue that it is simply a depiction of the effects of war on a young, poetically inclined airman during WWII. Or is it? The question is never answered one way or the other. Actually, it is never even asked. This continuous understatement is part of the film's appeal.

The innovative photography and cinematography even includes some nice touches portraying the interests of the filmmakers. For instance, Pressburger always wanted to do a cinematic version of Richard Strauss' opera, Der Rosenkavalier, about a young 18th century Viennese aristocrat. This is evident in the brief interlude in which Conductor 71, dressed in all his finery, holds the rose (which appears silver in heaven). The music even has a dreamy quality.

All of the acting is first rate - David Niven is at his most charming, and he has excellent support from veteran Roger Livesey and relative newcomer Kim Hunter. But, in my opinion, the film's charm comes from Marius Goring as Conductor 71. He by far has the most interesting role, filling each of his scenes with his innocent lightheartedness, brightening the film. It's a pity that some of Conductor 71's scenes were left on the cutting room floor. It is also a pity that Goring's comedic talents are rarely seen again on film, except in the wonderful videos of The Scarlet Pimpernel television series from the 1950s. This is by far and away the most memorable role of his film career. He is a perfect foil for relaxed style of Niven, and his virtual overstatement contrasts so nicely with the seriousness of the rest of the characters. Ironically, also in the mid -1940s, Niven also starred against another heavenly "messenger", played by Cary Grant, in The Bishop's Wife. Their acting styles were so similar that I found the result boring, unenergetic, and disappointing. As a note, according to Powell, Goring desperately wanted the role of Peter Carter, initially refusing Conductor 71. It's a good thing he gave in and gave us such a delightful portrayal.

The movie, "commissioned" to smooth over the strained relations between Britain and the U.S., overdrives its point towards the end. But it is disarming in its gentle reminders of the horrors of war - the numerous casualties, both military and civilian, the need to "go on" when faced with death. There is a conspicuous lack of WWII "enemies" in heaven, but the civilians shown are of indeterminate origin. Powell and Pressburger could have been more explicit in their depiction but it wasn't necessary. The movie may not have served its diplomatic purpose as was hoped for, but its originality continues to inspire moviemakers and viewers alike on both sides of the Atlantic.

Between heaven and earth

[jotix100 · 10/10 · 19 September 2005]

The great talents of Michael Powell and Emeric Pressberger are noticeable in their wonderful "A Matter of Life and Death". It was part of the recent tribute to Mr. Powell that played at the Walter Reade in New York. This film, in particular, shows us one of the best British films from that, or any other era.

"A Matter of Life and Death" has a brilliant cinematography by Jack Cardiff, a man who knew how to work wonders with a camera. Particularly impressive is the contrast from the monochromatic tones given to the scenes played in heaven, and the colored ones when the action comes back to earth. This was quite a coup, and well ahead of its times. The black and white sequence that involves the long staircase where Peter and the Conductor are chatting has to be one of the most amazing things on any film.

Much has been said in this forum about the film, so our comment will be about the great acting Powell and Pressberger got out of the large, distinguished cast, who responded magnificently to the directors' guidance.

David Niven, is Peter, whose aircraft is hit and his best friend dies as a result of it. This film marked one of the highlights in Mr. Niven's career. He was an excellent film actor as he shows us in this movie. Kim Hunter is surprisingly good as June, the woman who talked to Peter as his plane was falling from the skies. As fate would have it, Peter and June fall in love at first sight.

Some of the best British film actors grace this film with their presence. Robert Coote, is Bob, the man who is admitted to heaven, but he is surprised his friend Peter never made the trip with him. An excellent star turn by Marius Goring, who as the Conductor 71 steals the film. Mr. Goring, who had worked with the directors, is one of the best things in the movie. Also, Roger Livesey, as Dr. Frank Reeves, does one of the best appearances of his career, as well as Raymond Massey, who is seen as Abraham Farlan.

"A Matter of Life and Death" is a timeless film that will always be seen with gratitude toward its creators.

Impressive Fantasy.

[rmax304823 · 6/10 · 20 February 2011]

What a show. At first, judging from the blurbs, I expected a tale of tragic romance between a doomed Lancaster pilot (Niven) and the young woman (Hunter) in touch with him by wireless. They would each spill their life stories. They would fall in love over the radio. He would finally crash and be killed, or possibly land in France and thought dead, only to be spirited out by the French resistance. In the second case they would throw themselves into each other's arms, her face wet with tears of happiness.

It was nothing of the sort. The first few minutes make that clear. We're given a quick survey of the universe. "See that bright star? That's a nova. Thank heavens it's not our sun." Finally down to earth and the war in Europe. It's a whimsical fantasy about Niven's scheduled death being somehow mucked up, so that he actually meets Hunter and they embrace, call each other "darling," and kiss after five minutes of introduction. A surfeit of showy sets and dressings and impressive visual effects. The earthly scenes are in color; those shot in heaven are black and white.

All is not well in heaven though. Someone missed Niven as he was falling through the fog over the channel and he's survived by mistake. Lots of grumbling and fussing about with the recording secretary and so forth.

The end result: A celestial trial for Niven's life, while he lies on the operating table undergoing brain surgery to correct his injuries. Some of the dead people in heaven want the operation to fail so that Niven can die as he was supposed to. That would be Raymond Massey as the prosecutor, an anti-English Bostonian from the American War for Independence. The defense counsel, Livesy, claims that, since Niven has fallen for Hunter, an American WAC, he has a new claim to life that should be respected. No power on earth or in heaven could drag from me the outcome of that trial.

It's an impressive production, true enough. The resplendent sets, the fine performances, and the charm of the work itself are seductive. But I didn't get the point -- if there WAS a point. Even a fairy tale like "The Wizard of Oz" had a point. (PS: Kids, the point was "there's no place like home.") And the similar "A Guy Named Joe," with Spencer Tracy, had a point too, though aimed at adults: When someone you love dies in war time, you must pick up the pieces of your life and carry on.

But here we spend almost half an hour with Roger Livesy defending England and English culture against attacks by Raymond Massey's resolute Anglophobe. The script is pretty literary, by the way, with spontaneous quotes from Sir Walter Raleigh, Marvell, Scott, Byron, Washington, and Ben Franklin -- plus some source music from Mendelssohn.

But I didn't know where it all was going. This was shot at the end of World War II and released in 1946 -- and someone is still urging cooperation and solidarity among Britons and Americans? Because that's what it sounded like. I -- a Yank -- was frankly embarrassed by Raymond Massey's attacks on the Brits.

Well, it's fun enough if you don't think about it too much. But still, who the hell is Raymond Massey to feel so resentful towards England -- and Massey a Canadian at that!

Quite simply the best film ever made

[leccyflyer · 10/10 · 23 November 2000]

To me A Matter of Life and Death is just that- simply the best film ever made.

From beginning to end it oozes class. It is stimulating, thought provoking, a mirror to the post war world and the relations between peoples.

The cinematography is simply stunning and the effect of mixing monochrome and Technicolour to accent the different worlds works seamlessly. The characters and plot development are near perfect and the attention to detail promotes a thoroughly believable fantasy.

No matter how many times I watch the film - and I have watched it a lot - it never fails to touch me. It makes me smile, it makes me laugh, it makes me think, it makes me cry. It is as fresh today as it was in 1946.

If I were allowed just one film to keep and watch again A Matter of Life and Death would be that film.

A Bit Windy at Times, But Quite Interesting

[Hitchcoc · 6/10 · 17 November 2009]

I found the premise quite intriguing, though it's been done many times. It begins with the very idea that in the celestial world a mistake has been made. At times the idea of eternity is made comical in that they have let in a bunch of buffoons and careless people. I was also interested to see that for the most part, the military is running heaven. People wear insignia and act in a way that says, I am your commander. That would be appropriate since the military has sent so many people to death. Of course, all the dead are decked out in whatever uniform fit the time they served. They seem to have the final say over everything. OK. I'll get beyond that. There are a great many speeches made about love and patriotism and nationalism. The interpretation of love is pretty short and doesn't seem to include much about the love that humans should have for each other on a day to day basis. I really liked the beginning, but when the windbags took over, especially Raymond Massey, the rhetoric was all over. Why would these characters be granted that other than some propagandistic soapbox.

Stunning archery

[Spleen · 10/10 · 30 January 2000]

The opening flourishes left me purring with delight at their inventiveness - the altered version of the Archers' logo, the introductory disclaimer, the way the camera pans over the cosmos. It's strange to think that `It's a Wonderful Life' came out in the same year. No great coincidence: the 1940s was awash with heaven-and-earth films; but the glowing cotton wool nebulas and cutesy angels of the competition look tattered, something best passed over in silence, when placed next to Alfred Junge's vision.

It continues to look great all the way through, as more and more striking ideas are sprung upon us. I'm not a great fan of mixing colour with black and white in general. One of the two visual schemes almost always looks ugly when placed next to the other. Not so here. Powell dissolves colour into monochrome and monochrome into colour as if it's the most natural thing in the world, a mere change of palettes. Both the colour photography and the black and white could stand on their own.

As for the story ... this may be Pressburger's best script, or at least it would have been had the conclusion been a more logical outcome of preceding events. Other than that it's tight, yet with more going on than I can possibly allude to here. Was the heavenly stuff real or imaginary? (Or both? Perhaps Carter dreamt up a fantasy that was, as it so happened, true.) Everyone says we're meant to neither ask nor answer this question, but I don't see why. I'm sure we ARE meant to ask the question. The film even gives us clues as to what the answer is - indeed, the problem is that there are too many clues and they seem at first to be pointing in different directions. The fact that other things ought to occupy our attention as well doesn't mean that this shouldn't occupy us as well. There is, as I've said before, a lot going on.

Consider the scene in which Abraham Farlan (Heaven's prosecuting lawyer) plays a radio broadcast of a cricket match, and contemptuously says, `The voice of England, 1945.' Dr. Reeves (the defence) acknowledges the exhibit with a great deal of embarrassment, and then produces one of his own: a blues song from America, which Farlan listens to as though he's got a lemon in his mouth. Reeves looks smug.

Snobbery? Well, I don't see why it's snobbish to condemn blues music - and that's not what Powell and Pressburger are doing, anyway. As the song is being played, we get a shot of the American soldiers listening to it: several of them nod their heads to the rhythm, perfectly at home. THEY don't find it incomprehensible. There's something valuable about the song and neither Reeves nor Farlan knows what it is. Reeves probably realises as much. All English audiences (and all Australian, Indian, etc. audiences as well) know without being told that there is something of value in the cricket broadcast, too; and that while Reeves understands THAT, he is unable to explain it to Farlan - hence the blues broadcast, which shows that people can understand each other without sharing an understanding of everything else. It's a clever scene.

One last thing. I found David Niven a bit cold, without the charisma he would acquire later in his career; but even so, I don't think a film has grabbed my heart quite so quickly after the action began, as this one did.

A Matter of Britain and America

[polos_are_minty · 6/10 · 22 October 2011]

The film starts with an impressive look at the universe, which itself is interestingly voiced over. This scene is probably one of the films most impressive when you consider the era in which it was made. Soon though we join the lead on board his rapidly plummeting Aircraft. It is quickly established that he has no way of surviVing this situation, the plane is too badly damaged, his parachute is shot through and his friend is dead. We hear Peter discussing all of this with a young American female who is at the other end of the radio and instantly we can tell that these characters, given the chance would be a perfect match However too soon Peter has to jump into the fog and to his death...

As I watched this film I had a nagging sense of annoyance building inside me, I wasn't quite sure what caused it, other than perhaps the unsatisfying nature of the film after the initially promising opening scenes. The film itself is based around quite a unique concept, a man being missed by Heaven, he then subsequently falls in love and is given the right to appeal the decision of his death. What bugs me though is that the realisation of this idea was not everything it could of been and the film instead focuses to much on the relationship between Britain and America as opposed to, in my opinion, the far more interesting one of life and death.

It makes perfect sense that the film was designed as a propaganda piece to boost Anglo-American relations. After all it did come at a time when there were a few difficulties between the nations. What doesn't make sense though is the way the film is so obvious in its attempts to improve and cement that relationship. This, inevitably, brings me on to the trial. Where do I start with the Trial? I give it that it was entertaining, amusing and good fun. What I don't give it though is much credit for anything else. I thought that the trial, perhaps naively, would be more about Peter and his life and why he should be allowed to continue to live. Alas though it wasn't, instead we are given a debate about which country is better, Britain or America. There is not much more to the trial than this and sadly, despite the amusement I got out of place from the scene, it kind of ruins the film. The scene is so out of place with the rest of the film that it jars horribly and feels somehow shoehorned in.

I want to briefly mention Frank, he is perhaps the best character in the film but I think that he is unnecessarily killed. We are told by the French operator that anyone who has ever lived could be Peters defence in the trial, which of course indicates that Frank could perform the role even whilst alive. Alas no though, the character is killed in perhaps the most contrived motorcycle crash of all time and is then taken up to Heaven were he is given the role of Peters defence Despite this though Frank is an interesting character, he is not over the top like the Operator, nor is he a caricature like Peter himself, he is just a normal person

So in all it is an interesting film but it is one which makes things difficult for itself. It offers a lot of interest, but not on the subjects you would of thought. By no means a masterpiece but neither is it junk

6/10

'Life and Death' is no 'Wonderful Life'

[Turfseer · 3/10 · 8 October 2010]

I simply cannot understand why so many people consider 'A Matter of Life and Death' (aka Stairway to Heaven) a cinematic masterpiece. I mean there are some who have the audacity to compare this light weight, dated fantasy-comedy to the great 'It's a Wonderful Life'. Seriously, do you really feel that a one-dimensional character such as Peter Carter can be compared to the fascinating and multi-dimensional George Bailey? Compare how artfully the relationship between George and Mary develops in 'It's a Wonderful Life' to the superficiality of the immediate bond between Peter and June in 'Life and Death'. After the mistake in the afterlife allows Peter to survive the fall from his stricken aircraft, we're treated to the ridiculous coincidence of Peter landing on the beach right next to where June lives and wouldn't you know it, he runs in to her right away. Yes, I know this is a fantasy, but the way they just fall in love right on the spot is not only way over the top but also suggests a severe lack of character development in the screen writing department.

After the intriguing introduction in which an emissary (Marius Goring's 'Conductor 71') is sent down to earth to convince Peter Carter to return to the afterlife following a bureaucratic snafu, we're treated to the further interesting complication of Peter's refusal to leave earth coupled with an offer to appeal the order of return in front of a heavenly tribunal. But before we arrive at the climax, the big trial scene, there's a long stretch in the middle of the movie where little happens. I'm referring to all those repetitious scenes where June's neurologist pal, Dr. Reeves, is attending to Peter, attempting to analyze the root of his 'hallucinations'. Instead of employing non-invasive psychotherapeutic techniques, Reeves eventually puts Peter at risk by concluding that his hallucinations are due to a prior brain injury and orders immediate surgery. Kim Hunter as June has little to do except make like a statute every time Conductor 71 comes down to earth (you'll notice that Hunter has a great deal of difficulty standing still during all those freeze frame scenes).

It also seemed a bit coincidental, that Dr. Reeves, trained as a neurologist, suddenly morphs into a most articulate defense attorney following his awkward death after he's hit by an ambulance while driving his motorcycle.

'Life and Death' was supposedly written to mend British-American relations, severely strained during the war. The Brits apparently felt the Americans should have entered the war earlier and never could appreciate the privations the civilian population suffered due to bombing raids and rationing. Despite the replacement of the 'anti-British' jury with an All-American group who votes to extend Peter's time on earth, Reeves and Abraham Farlan (Raymond Massey's first American victim of the Revolutionary War) exchange some rather nasty comments regarding each other country's weak points. Farlan's diatribe is basically the highlight of the trial scene and because of that, the Americans come off much more mean-spirited than their British counterparts. Despite their attempt to mend Anglo-American relations, to my mind Director Powell and his co-writer, did more to harm such relations than help them. In the end, Peter Carter gets the American girl and not the other way around.

Despite all the clever cinematography by master cinematographer Jack Cardiff, 'Life and Death' turns into a nice little piece of agitprop in its Third Act, unable to decide whether it's pro or anti-American. As for the fantasy element of the film, Peter's restoration is utterly predictable as the Massey straw man fires softballs inside the feel-good arena.

What a marvel!

[film-29 · 10/10 · 15 December 2004]

This movie has the most beautiful opening sequence ever made. I've seen this movie for the first time a week ago, since then every day I see the opening and every time I feel as thrilled as I felt the first time I heard David Niven uttering the immortal words from Sir Walter Raleigh's The Pilgrimage:

Give me my scallop-shell of quiet, My staff of faith to walk upon, My scrip of joy, immortal diet, My bottle of salvation, My gown of glory, hope's true gage; And thus I'll take my pilgrimage (…)

Do you know why it would be a truism to say Michael Powell's and Emeric Pressuburger's lives are thoroughly justified for having crafted such a wonderful opening? Because they had been already admitted in the Paradise of Poets long before they made this movie.

I imagine both of them facing trial during Doomsday and saying nonchalantly to an irate God: I beg your pardon, Sir. So, do You want to know what have we done during our lifetime? Well, well you'll see: We've written directed and produced: I know Where I'm Going, Colonel Blimp, Red Shoes… do you think that enough Sir? It is rather obvious that these two great artists had already fulfilled their duty with God, Nature the Muse or Whatever you may call It when they shot A Matter of Life and Death. The fact that other people's lives would be justified for their deeds could be not apparent to everybody, notwithstanding I feel my life would have a meaning had I never done anything else that to see this movie.

Of course old-timers will be tempted to say: They don't do movies like this one any more. They'll be partially mistaken; they didn't make movies like this in the past times either.

I've have already quoted Keats here, but I'll repeat his words: A thing of beauty is a joy forever.

Wonderful if flawed

[bob the moo · 9 February 2003]

WW2. RAF pilot Peter Carter's plane is shot to pieces and his parachute is destroyed. In his final distress call he talks to American WREN June on the radio and they bond at that time, when Peter knows he is doomed. They bid farewell and Peter jumps to his death. Later he wakes on a beach to find he survived and he runs to meet June and the two quickly fall in love. However, in heaven there is panic as one of the collectors of souls admits he missed collecting Peter at the moment of his death due to the thick fog all round. When Peter learns of this he appeals and a heavenly court case is convened in order to decide his fate.

This film was made on request from the MOD (ministry of defence). At the time they wanted a film that was set in wartime and stressed the importance of Britain and America overcoming any cultural differences between them and to stand together. The end result could have easily been a big flag waving exercise that would have been historically added to the pile of average propaganda made around the time (albeit for good reason).

However the actual end result is that the film transcends what it could have been and turns into something that is quite wonderful – witty and moving at the same time. The actual story is a little cheesy and on paper sounds like it could be a disaster and in reality it could have been. The film is never clear if it is real or if it is all in Peter's head and it doesn't matter. The plot allows plenty of nice touches as well as romance. The romantic/emotional side of films don't always wash with me but here I was gripped from the start simply by the powerful radio scene. It's very British (stiff upper lip) but still very moving.

The film just about hangs in there during the middle section where Peter falls in love and his supposed hallucinations are discussed by doctors but the film really comes strong in it's climactic court scene. It is witty and plays on national stereotypes really well and makes the point without forcing it down our throats. It works very well and even the sentimentality is well handled and is never as sugary as it could have been.

Niven is superb and is typically British in the lead. Hunter is pretty good but a little too sappy. The strength of the film is in it's support cast – the final courtroom scene relies more on the support cast than Niven or Hunter (who are barely in it towards the end) and yet it works very well. In fact the best characters are all in the afterlife and not the film's real world. The best element of the film is that the direction and sets are great. The gimmick of b/w and colour works better than expected and the use of it really works well – but shouldn't heaven be in colour and earth in monochrome? Maybe that was the point, I guess. The sets are really good and it's easy to be impressed by that staircase even by today's standards – not technically but just in the power of the image.

Overall this is a solid film. I don't think it deserves all the praise that it gets and if I had to list my top 100 then I'm not sure it would be in there but that's not to take away from it because it is a wonderful piece of work. The emotion is powerful without being sentimental and the film is witty and moving in equal measure.

The greatest ever British movie?

[edward.kay · 10/10 · 26 April 2005]

If ever anyone queries whether cinema is an art form, you can do worse than pointing them at this movie.

Quite simply it is the perfect combination of story, script, actors and cinematography ever committed to celluloid.

The story of a doomed bomber pilot who is missed by his heavenly conductor in the English fog during the second world war, and his subsequent brushes with the celestial authorities (or is it in his head) is played with panache by David Niven and Kim Hunter and is incredibly touching - especially in the opening scenes when the doomed pilot (Niven) describes his plight to the ground radio operator (Hunter).

The sense of otherworldliness is heightened by Jack Cardiff's photography and the incredible production designs.

The supreme touches extend to the heaven shots appearing in black and white and earthbound scenes presented in Technicolour - this is even mentioned by the celestial conductor (a fantastic Marius Goring).

Not only a highpoint in British cinema, but a highpoint in cinema, period.

Nothing Is Stronger than Love

[claudio_carvalho · 9/10 · 4 September 2012]

On 02 May 1945 during the World War II, the Englishman and Commander Peter David Carter (David Niven) is returning to England in a bomber on fire, without parachute and with the pilot Bob (Robert Coote) dead. He contacts June (Kum Hunter) from the American Air Force on land and they start a conversation. June tells that she is single and is presently living in Lee Wood, at the seaside, and Peter explains his situation and asks June to send a telegram to his mother, and tells that he will jump from the plane since he does not want to burn with the plane. Peter awakes in the surf of Lee Wood beach and he meets June and they fall in love with each other.

Meanwhile in Heaven, the Conductor 71 (Marius Goring) admits to the Powers That Be that he committed a mistake and lost Peter in the fog. Then he meets Peter and tells him that he must go to Heaven since he should have died in the fall. But Peter claims to the Court of Appeals in Heaven claiming that the negligence of the Department of Records had allowed him to fall in love with June and he deserves a second chance.

Down on Earth, June takes Peter to Doctor Reeves (Roger Livesey) and the doctor finds a brain concussion that may be causing hallucinations in Peter and tells that he must operate in an urgent basis. While Peter is submitted to a surgery, Heaven agrees to open a case in court and judge his fate.

"A Matter of Life and Death" is an extraordinary film that combines drama, fantasy and romance in a wonderful ambiguous story. The lines and dialogs are impressive, with citations of philosophers and historic events, and it is never possible to know whether Peter's destiny was decided in this or in the other world. I loved the conclusion of Conductor 71 that life is more beautiful in Technicolor. The most important and beautiful is the final message that in the end nothing is stronger than love. My vote is nine.

Title (Brazil): "Neste Mundo e no Outro" ("In This World and in the Other")

Exceptional movie

[silverauk · 10/10 · 15 November 2002]

Why is this movie not in the 250 best? This movie looks still astoundingly fresh 56 years after its production but it could only have been made at the aftermath of W.W.II because of the perception of the nearness of death. People were more aware that life could be stopped at one unexpected moment. And what after life? I liked the scene at the end with the judgment and all people of all nations gathered. The phlegmatic judge (Abraham Sofaer-a typical British judge-), Doctor Reeves (Roger Livesey) defending Peter Carter (David Niven) and also June (Kim Hunter) against the American prosecutor Abraham Farlan (Raymond Massey I -there is a reason why it is an American-). It is all so imaginative! Michael Powell wrote, directed and produced this astonishing movie which is a real "tour-de-force". The message of the movie is clear: in the universe the law is the most important but on earth nothing goes beyond the love between humans. The way in which this beautiful story is told is far more interesting than any Hollywood-movie could ever make.

Not quite heavenly

[The_Void · 7/10 · 24 November 2004]

This imaginative and inventive little surrealist fantasy come pretentious romance is a result of the directorial teaming of Powell and Pressburger. A Matter of Life and Death follows the story of World War 2 airman David Niven who gets caught in a plummeting aeroplane. Normally in this situation, one would parachute out; but his chute has been shot to ribbons, and so he faces certain doom. His only form of comfort in his final moments comes from a young female radio operator, June. While on his way to doom, the two form a bond over the radio; which makes his situation all the more tragic. However, while on his way down without a parachute, heaven isn't able to locate him due to the thick fog (you have to suspend your disbelief a little bit with this film.... just a little) and he lands back on earth with barely a scratch despite falling all that way. Naturally, he meets up with June after his fall and the two fall in love. Heaven, however, has a different idea about how the airman's future will pan out and set out to regain their lost minion...but in a typical apple pie way, he is given the right to a free trial where he will be able to plead for his life on Earth...

If you thought It's a Wonderful Life was pretentious; you ain't seen nothing yet! The good nature of the film is almost sickly sweet at times, and there are several moments that will no doubt make your toes curl and your eyes roll...but through this pretentiousness lies a very potent and very romantic story. Throughout we are treated to imaginative and inventive scenes taking place in heaven and on earth, taking in areas such as the romance between the two young lovers, and then some great ideas sprouting from heaven and it's labyrinth of possibilities, but the film is overall far from perfect. About one hour in, you'd be forgiven for thinking otherwise; but when it gets to the court scene, that's where it falls flat on it's face. Strangely, as the film was made in Britain, it's one of the most 'American' films I've ever seen. The court sequence is, basically, an ode to American values; with the 'lawyer' preaching about how great America is etc.…and basically, it's cringe-worthy. The judgment of the court is also very predictable...come on, seriously, who didn't know the ending before seeing the film? I'm not saying they should have ended it another way, I'm just saying.

Overall, it's a shame that the film does fall down in the final third. Don't get me wrong, this is a good film and well worth viewing, but less 'American values' and more on the inventiveness that made the first hour so pleasant would have made this a masterpiece

Dazzling

[TheLittleSongbird · 10/10 · 13 September 2010]

I didn't see A Matter of Life and Death until fairly recently, and after seeing it and being blown away by it I am asking why it took me this long to see it. A Matter of Life and Death for me is one of the best British films ever made, and as a fantasy it is truly dazzling. The film is beautiful to look at, not only in the cinematography but in the sets and costumes. The score is another strength, it is both beautiful and haunting, I still have the main theme in my head now. The story is wonderful, and the script is one that makes you laugh, think and even cry with a touch of political outspokenness in it. The direction is great, and the performances are right on the money. David Niven is superb and Kim Hunter is sweet and innocent, while Robert Livesey comes very, very close to stealing the film. In conclusion, dazzling and a timeless classic. 10/10 Bethany Cox

One of the most original films of its day

[Red-Barracuda · 7/10 · 12 October 2021]

This visually inventive romantic fantasy is a Powell and Pressburger film about a Royal Airforce pilot who escapes certain death by an administrative error made by heavenly officials. He is left in a limbo between heaven and earth, while at the same time falls in love with a girl. Going against expectations, heaven is shown in monochrome, while Earth is full-on Technicolor. It generated some controversy in its day with its perceived anti British and American sentiments, while its romantic-fantasy-comedy approach to war dead was seen as out-of-order a year after the end of WWII. Whatever the case, its one of the most original films of its day.

Excellent!

[r.bains1 · 10/10 · 3 May 2001]

I saw this movie years ago on late night television. Back then it went by the title of "Stairway to Heaven". Even as a young boy, I remember being deeply moved by the story and astounded by the visual effects of the court trial (those who have seen it know what I'm talking about). Such imagination! A perfect blend of romance, drama, humour and fantasy, this movie is right up there with the greatest classics ever made: Citizen Kane, Casablanca, Gone with the Wind. This movie is rated extremely high by IMDB voters and rightly so - over 51% voters rated it 10 out of 10; over 84% rated it 8 or higher out of 10. I was surprised it was not listed in the top 250 films until I realized so few have seen/rated this movie, compared to those on the list. What a pity. I hope this movie gets released on DVD for Region 1 (North America), so that 1), I can purchase it, and 2), others discover this hidden treasure.

Powell and Pressburger once again show an incredible talent for Technicolor splendor!

[moonspinner55 · 6/10 · 18 September 2005]

The filmmaking team of "The Archers", Michael Powell and Emeric Pressburger, have an incredible talent for parlaying a capricious plot into a Technicolor piece of splendor (it often makes their films seem better than they really are, particularly in retrospect). David Niven is well-cast as an aviator with the British Squadron during World War II who is forced to bail out of his doomed aircraft without a parachute--but, due to a Heavenly error, he survives and finds himself romancing the pretty Yank who was the last person to talk with him over the radio. For the first three-quarters of its length, "Life and Death" is a wily, friendly fantasy with a nice sense of otherworldly flavor (with a light touch reminiscent of Cocteau in a happy mood); however, the plot is top-heavy with "legal" discussions and concerns that, while handled briskly and in keeping with the movie's tone, never live up to our early expectations. As the love-interest, Kim Hunter has an appealing little-girl look (she resembles the juvenile Linda Blair) and a nicely grounded presence; still, the ramifications of her affair with Niven--and whether or not she believes his stories or is just humoring him--are never actually made clear. **1/2 from ****

A Heaven Not to Die For

[disinterested_spectator · 5/10 · 8 April 2015]

This movie begins with a prologue announcing that the movie is story of two worlds, the first of which is that of our life here on Earth; the second, in the mind of a young airman. This is followed by a disclaimer of any resemblance between this imaginary world and any other world, known or unknown. I guess they didn't want to be sued by Heaven for slander, which would have been justified, because it is the worst depiction of Heaven ever imagined.

Granted, no depiction of Heaven has ever succeeded in making it look like a place where anyone would want to live. Its minimal appeal is that it is better than no afterlife at all. But this particular Heaven really is the pits. First, it is colorless, both literally and figuratively, with only the scenes on Earth being in color. Second, it is lifeless, both literally and figuratively, for with the exception of the new arrivals (who are in such a jolly good mood, they get on your nerves), everyone else in Heaven is lethargic and dull. Third, souls in Heaven are prudish beyond all reason. We all know that there is no sin in Heaven, which is part of what makes it so boring, but in this Heaven, you are not even allowed to say, "Holy smoke!" Fourth, there is no love in Heaven, but there is hate. Conductor 71, having dismissed love as the feeling of the moment, says that the prosecutor in Peter's case hates Peter's guts, as part of a hatred for the British that has lasted for two centuries, on account of his having been an American killed by the British during the American Revolution. This hatred turns out to be petty and spiteful beyond belief.

Apparently, Heaven in this movie is really caught up in World War II, because they have a special Aircrew Section just for the pilots of the Allied forces. We never get to see the Aircrew Section for the Axis Powers for some reason. The receptionist, or whatever she is, shows a newly arrived pilot where they keep the files on everyone on Earth: Russian, Chinese, black or white, Republican or Democrat. She doesn't mention anything about the files of Germans, Japanese, or Italians. Gosh! You don't suppose they all went to Hell, do you?

I suppose one of the reasons for announcing in the prologue that this is just a world of the imagination is to keep us from being critical, as if only reality can be criticized. Well, all I can say is that the guy who imagined this has one of the drabbest imaginations ever imagined. That guy in question is Peter Carter, who bailed out of a burning airplane without a parachute, but somehow did not die. Or he did die, and the movie is mostly his hallucinatory dream on the way down. Well, real or imagined, it is deserving of criticism either way. Or, let me put it this way. The people who really imagined all this were Michael Powell and Emeric Pressburger, and they are the ones who really get the blame, not the pilot in the movie.

The plot of this movie is the opposite of "Here Comes Mr. Jordan" (1941), which was remade as "Heaven Can Wait" (1978). In those movies, Joe Pendleton dies and goes to Heaven before he was supposed to, and Mr. Jordan, who is in charge of these things, has to find a new body for Joe and send him back to Earth. In "Stairway to Heaven," on the other hand, a man who was supposed to die and go to Heaven remains on Earth accidentally, and steps are taken to get him to go to Heaven, where he belongs. In the Mr. Jordan movies, we are exasperated that Joe would still care so much about his life on Earth once he knows that all that stuff about God and Heaven is true. That knowledge should be life transforming, but Joe just wants to get back to doing what he was doing before. I guess some people are hard to impress. But in the present movie, once we see what a dreary place Heaven is, we cannot blame Peter for wanting to put off the day when he will have to go there too.

Just about the time we have settled into the idea that this business about Heaven is the hallucination of a man who has jumped out of a plane without a parachute, it turns out that his hallucinations are caused by a brain tumor, the symptoms of which began six months before he jumped. So, is the tumor also the hallucination of a man who is falling to his death, or is the leap out of a burning plane the hallucination of a man with a brain tumor?

Anyway, brain surgery is performed on Peter while his trial is taking place in Heaven. Ultimately, it comes down to a question of which should prevail, the Law of Heaven, or love on Earth. Finally, June, the woman Peter loves, is willing to die in Peter's place, thereby proving that she loves him, the result of which is that they both get to live. The judge quotes Sir Walter Scott's poem about how love conquers all, the last line of which says, "For love is heaven, and heaven is love," an assertion that stands in contradiction to all that has come before. At the same time, the surgery back down on Earth proves to be a success.

So, Peter and June will get married and live happily ever after. Or rather, they will be happy until they die. Then they will go to Heaven and have to exist in that dreadful place for eternity.

An Imaginative Classic

[Snow Leopard · 17 November 2004]

Amongst the classic movies, this is one of the hardest to pigeonhole. It imaginatively combines several genres into one story, with plenty of drama, romance, and fantasy, plus some good dry humor sprinkled in liberally. The story, characters, and settings are all creative, and the way that Powell and Pressburger put it all together into a cohesive whole shows an expert touch.

Many things about it defy expectations, and keep you just enough off-balance to make you pay close attention to each new development. David Niven and Kim Hunter work well as the young couple in the midst of a bizarre situation, making their responses believable and their characters sympathetic. Marius Goring, Roger Livesey, and Raymond Massey each get some good moments.

The story is easy to summarize, but to do so could make it seem rather trivial. The basic setup could easily have led into a rather routine and predictable romance movie, but instead it takes some interesting turns and brings out some worthwhile ideas. It's an unusual and enjoyable film, not flawless but quite imaginative, and one that those who enjoy classic cinema will want to see for themselves.