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Editorial
Amazon.co.uk Review
An epic and extraordinary true story--or, at least, an extraordinary story based on a novel (Alan Burgess's The Small Woman) based on a true story. Gladys Aylward (an improbably mesmerizing Ingrid Bergman) is a British would-be missionary with an obsession about China. As she has no experience, the Missionary Society won't let her go, but she goes anyway, alone, to a remote northern province. She is hated, then loved; finally she becomes both a significant political figure and the heroine of a miraculous escape in which she shepherds 100 children to safety across the mountains just ahead of a Japanese invasion. Curt Jurgens is suitably stony as Lin Nan, the half-Dutch, half-Chinese military officer who falls in love with her, and a visibly ailing Robert Donat (who died before this, his final film, was released) is the wily local mandarin who sees and makes use of her extraordinary abilities. Directed by Mark Robson, The Inn of the Sixth Happiness is a sweeping, stirring tearjerker, a big tale told in a big landscape with acres of orchestrated strings by Malcolm Arnold. A beautiful and beautifully made film that's a classic of the "everyone said I couldn't but I did it anyway" genre. --Richard Farr
Triumph Against the odds
Review date: 2007-08-17 Rating: 10 out of 10
A beautiful film, based on the story of a most remarkable woman.
Ingrid Bergman gives the performance of her life in my opinion, and Robert Donat and Curt Jurgens provide wonderful support. The latter provides a romantic interest. I accept that this interest was largely fabricated to make the film more appealing at the box office, but it seems all quite tasteful and unrequited to me. The Chinese cast are good too, especially the children.
The photography is stunning, using dark, rich colours. Some of those '50s colour movies have often looked dull and out of place on TV, but now on a large screen in a fairly dark room, you begin to get the effect of cinema. You can almost see the full pleated curtains of The Gaumont and The Odeon, as they softened their Art-Deco lines, and let in a bit of 50s Chintz.
I am glad to read that I am not the only person still deeply moved by the final scenes of this movie from an age of more innocence and hope.