American Cinematographer - September 2004 - 88

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with Noel and he

«lcitiz-

proceeded to read his script, which
went on

'It's

for four hours! We told him,

For

wonderful story, there's no
doubt about it, but it goes on forever
and it goes

everywhere.' And he
replied, 'I thought that was the whole
point about films - you can go
anywhere.' So David and I worked on
the screenplay from page one, creat¬
ing a structure that would allow
Noel's brilliant material to play at an
acceptable screen length. Noel called

-

our

a

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thought

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suddenly becomes good!
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were

opposed to it. They said, 'We don't
want a

film about the Germans sink¬

ing a British ship. That's not propa¬
ganda. We want a film about the
British sinking a German ship.' Lord
Mountbatten fought for us, though,
and because of him,

we

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m

"a

made the

film."
Coward shared co-director
credit with Lean

the credit

Neame"

on

the film

-

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with

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"Photographed by Ronald

on

the

same

card. The

k

team

would go on to produce This Happy
Breed (1944) and Blithe Spirit (1945),

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.&

pictures with a lighter touch that
were

designed to take

u.y

war-weary

war

years

HI

0EO

Britons' minds off the conflict, at
a short time.

least for

The

\\\\\\\\

and after

proved to be a golden

age for British
cinema. Part of this can be attributed
the

necessity of relying

on home¬
talent, but according to
major credit for the golden
age can be laid at the feet of one man.
"The golden years, as we called them,

to

grown
Neame,

were

due

to

the arrival of Arthur

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American Cinematographer - September 2004

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