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Definitely would recommend to any plumber… Read Full Review. I have been installing the LMB for the past 2 years. Greene sits himself down and ponders his past.
Greene's story flashed back in time as a young studio portrait photographer for a man called Maurice Guttenberg Frederick Valk.
Guttenberg and Greene have a falling out. Greene insists on shooting a picture his way. Greene and his new bride venture out on their own.
Green opens his own photography business and slowly makes a solid customer base. With the money and the help of businessman, he invests it all on developing a color film with quite a few failures along the way but persistence pays off as he finally develops a celluloid that could handle a movie projector.
One night Greene sets up his makeshift projector. Greene is excited about a scene he filmed in Hyde Park earlier in the day. Greene is about to run the film but there's no audience.
He calls down to the street where a Bobby is walking his beat. The Bobby is played by the exemplary Actor Sir Laurence Olivier.
Greene tells the befuddled Officer to sit and watch the bed sheet on the wall. Greene runs the film to the amazement of the confused constable as he runs to the sheet and tries to grab the images.
This movie has so many cameos of Iconic British cinema actors. Here are some familiars, Leo Genn, David Tomlinson, Peter Ustinov and Michael Redgrave.
I always like the acting of Robert Donat and his soft spoken approach. When this movie was released it was a box office flop but to me it was informative and poignant.
This movie stars Robert Donat as William Friese Greene who more or less invented the movie camera and thus made available those things being commented on at IMDb.
It's received splendid reviews over the years and on this site as well, and it's easy to understand why. The story has Friese Greene and his family suffering for his obsession with the camera.
He sacrifices everything for it and his wife and friends chip into the pit. In the end, he dies at a public meeting in while trying to speak to the audience about developing art, preserving history, and putting money-making on the back burner.
The audience must examine his body to find out who he is because he's an old man, long forgotten. For lagniappe, we have brief appearances by just about every well-known name in the British film industry at the time, from Lawrence Olivier as a wary police constable to Muir Mathieson as a conductor.
So I hate to say that I found the biography a familiar one. Man persists in his pursuit of the invention. Sells everything. Suffers multiple tragedies.
Wife gets sick and dies. Friends desert him. But he carries on until his goal is achieved. A cinematic biography wouldn't be a cinematic biography without these formulaic elements.
What would you prefer -- a five-minute movie in which a man is inspired by an idea, goes down to the basement, puts some device together, sells franchises at an immense profit, marries some suitable mate like Paris Hilton, and settles down to happily raise five chubby children and a dozen thoroughbred horses?
It's well acted and nicely directed by John Boulting, but similar stories have been better told. The Warner Brothers' biopics of the 30s -- starring people like Edward G.
Robinson as Dr. Ehrlich -- were equally well done if more crudely presented. If William Friese Greene was really like Robert Donat in temperament, he was comparatively dull, although mighty lucky to have a wife who looked like Maria Schell.
She has a dazzling smile that, when it appears, seems to cause all the features of her face to light up at once. For what it's worth, towards late middle age, Friese Greene bemoans the fact that the contemporary encyclopedia entry doesn't even mention his name.
Wikipedia does now. There were a number of people working on the idea around the same time and, the human mind being what it is, a single "inventor" is called for.
Today that name is Edison. I wish Friese Green had won the gold medal because Edison was something of a rat. He patented everything he could get his hands on, including the inventions of people working in his own laboratory, not in pursuit of a dream but in order to make money.
He fought it out with Westinghouse over who had the rights to the juice in the electric chair. The depths of Edison's avarice were plumbless.
There were undoubtedly many people working on some of our most important inventions around the time they became prominent.
William Friese-Greene spent his life working on the motion picture camera, and though he isn't the official inventor, he is someone who contributed his work to what became the final product.
His story is told by an all-star cast even in tiny roles in 's "The Magic Box" starring Robert Donat and Maria Schell. Greene held the first patent on a motion picture camera, and financial problems, by which he was beset his entire life, caused him to sell his patent for pounds.
He also created a "Biocolor" system which won in a lawsuit against a system called Kinemacolor. This early color process was too expensive for commercial use, however.
From what I can gather, Greene had good ideas that weren't very practical, and the film is basically about how he went from a highly successful photographer to a bankrupt inventor, and how his obsession with film and color controlled his life.
Not mentioned is the fact that his son Claude Friese-Greene became a cinematographer and was very prolific in British films until his death in He continued to develop his father's color process and produced a series of travelogues in the s using this system.
Robert Donat is excellent, but the film is not very interesting except to spot all of the huge British stars in minor roles, such as Laurence Olivier as a bobby.
Some people are fairly dismissive of Friese-Greene, and his place in the creation of the moving picture is controversial.
There's no question that today he is considered an early pioneer in moving pictures and in working with color. He was in touch with Edison regarding his work, and just because the credit goes to the individual who makes a product commercial is no reason to ignore the work of others.
If this film makes people aware that a credited inventor isn't always the only inventor, so be it. Obsessed man invents motion pictures, is ignored, and dies.
Ern-2 17 February Noble intentions guided the making of this film, but the result is disappointingly ernest and banal, and the puzzling flashback-within-flashback narrative doesn't help matters.
William Friese-Greene seems to have lived a life of fanatical obsession, ignored by his contemporaries and posterity, all the while maintaining a proper British stiff upper lip.
Laurence Olivier's brief cameo invigorates things momentarily, but otherwise this star-studded bio is chiefly enjoyable as a 2-hour game of spot-the-actor.
THE MAGIC BOX is a biopic from the Boulting Brothers. The subject of the film is William Friese-Greene, a man whose invention of a moving-picture format saw him contributing to the development of early cinema, although he is very much a forgotten figure today.
As such, this film is surprisingly downbeat and plays out as a tragedy at times. It's very realistic, harshly so, in fact, and details poverty, oppression, and the impact of turgid real life on one man's dreams.
However, a succession of endless cameos from about half of all the famous faces of the era keeps it watchable, and Robert Donat - of THE 39 STEPS fame - delivers a winning performance as the protagonist.
Richard Attenborough, Ronald Shiner, Sidney James, Margaret Rutherford, Googie Withers, Thora Hird, Marius Goring, Stanley Holloway, Eric Portman, Dennis Price, David Tomlinson, Peter Ustinov, and just about every other contemporary British actor have roles in this film about the life of the British inventor of the motion film camera, produced for the postwar "Festival Of Britain".
William Friese Greene, a dedicated and spendthrift inventor starts work as a photographer's assistant and then starts his own studio. He starts a partnership with a Scottish man which he later falls out with.
His first wife dies and he re-marries but after some period, she divorces him. This film left me puzzled. What was the reason for the strange scene setup?
Why not just present the movie in straight chronological order instead of telling the story by rather far-fetched flashbacks?
The main story line is derived from a flashback that lasts for half the duration of the entire film! The story of film inventor Friese-Greene is told mainly from the viewpoint of his two successive wives, starting with his later wife.
The film starts off when Friese-Greene is already approaching the end of his life when he visits his wife who has separated him.
From then on, she begins to tell about the time she lived with him when he already had put his invention into practice.
By now, Friese-Greene was a bankrupt debtor who vainly tries to expand and innovate his cinematic ambitions and we see how he brings his family along with him in his downfall.
The second part of the movie focuses on the start of his career as a photographer and his gradual success in creating the moving picture.
This is the most intriguing part of the movie, where we witness the birth of a new era. However, it is regrettable that we already know what is going to come of our hero; this way all that we observe somehow leaves us with a bitter aftertaste.
And it detracts from the overall 'suspense'. I guess that the main reason for this awkward order of life events is the fact that the interlude between the death of his first wife and his meeting his second is left undone.
And this is unforgivable because this is also the period Friese-Greene brought his new invention to public attention.
The recurring attention at his failed recognition lies in this period; also it would be nice to see how this totally new experience took place.
What we are left with is a tolerable movie about a man who is blind with ambition and therefore also blind to the people who love him and the people who he is indebted to.
The acting, camera work and soundtrack are all fine. As said, the major setback is the screenplay: deplorable. MartinHafer 7 June In hindsight, I wonder why they chose to do a biography of William Friese-Greene.
After all, on one hand, it isn't firmly established that he did create motion pictures this can also be claimed by several others as well.
In addition, his work with color cinematography for which he is most famous was mostly a failure. But most importantly, he was not a particularly nice person.
He apparently was a bit of a Schizoid Personality or perhaps had Asperger's Syndrome--emotional disorders where an individual has extreme difficulty relating to or caring about others.
He was so obsessed with his work, that according to the film he was a terrible father and husband.
The bottom line is that THINGS were much more important to him than people. In other words, he was a jerk--at least as portrayed in the film. So what's left?
Why watch the film if the man's inventions had limited impact and he was a pretty detached and self-absorbed individual?!
No matter how well the film was made and it was decent--but not outstanding even with this amazing cast , it was severely hampered at the onset.
Overall, passable but that's all. At least it was filmed in color An error has occured. Please try again. See also Awards FAQ User Ratings External Reviews Metacritic Reviews.
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