Hobson's Choice (1954)

Director:

David Lean

Writers:

Harold Brighouse (play)
Wynyard Browne (writer)

Release Date:

19 April 1954 (Denmark)

Genre:

Comedy | Drama | Romance

Tagline:

A Masterpiece of Lusty, Gusty, Rowdy Entertainment

Plot:

Henry Hobson runs a successful bootmaker's shop in nineteenth-century Salford. A widower with a weakness for the pub opposite...

Plot Keywords:

Salford | Daughters | Pub | Marriage | Shoemaker

Awards:

Won BAFTA Film Award. Another 1 win & 4 nominations

Cast

Charles Laughton	...	Henry Horatio Hobson
John Mills	...	Willie Mossop
Brenda De Banzie	...	Maggie Hobson
Daphne Anderson	...	Alice Hobson
Prunella Scales	...	Vicky Hobson
Richard Wattis	...	Albert Prosser
Derek Blomfield	...	Freddy Beenstock
Helen Haye	...	Mrs. Hepworth
Joseph Tomelty	...	Jim Heeler
Julien Mitchell	...	Sam Minns
Gibb McLaughlin	...	Tudsbury
Philip Stainton	...	Denton
Dorothy Gordon	...	Ada Figgins
Madge Brindley	...	Mrs. Figgins
John Laurie	...	Dr. MacFarlane

Runtime:

107 min

Country:

UK

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Recording)

Certification:

Iceland:L | Finland:K-16 | Sweden:Btl | UK:U

Filming Locations:

Salford, Greater Manchester, England, UK

Company:

London Film Productions

Trivia:

Alexander Korda suggested to David Lean that he should adapt Harold Brighouse's 1915 stage comedy for the cinema.

Goofs:

Crew or equipment visible: When Maggie and Willie leave their benefactress' house, the film crew is reflected in the shop windows as the two walk down the street.

Movie Connections:

Version of Hobson's Choice (1920)

undemanding fun

A far cry from the pomp and spectacle of Lean's later, grandiose productions, this gently romantic comedy of manners is based on Harold Brighouse's 1915 play, and sits alongside Great Expectations and Brief Encounter as one of the best films he made in black and white. Lean's restrained direction allows the sparkling scripts pithy banter plenty of room to breathe, whilst deftly avoiding the static wordiness inherent to most stage for screen adaptations.

At its core, Hobson's Choice has a towering performance by Charles Laughton, whose Henry Hobson is a marvelous mixture of snarling brute and whimpering child, huffing and sputtering his way through scene after scene of delightfully sexist dialogue. Crucially however, Laughton resists the temptation to go over the top, instead keeping his Hobson firmly on the plausible side of caricature, thus ensuring that the pathos of this potentially unlikeable character remains firmly intact, and whilst we eagerly await his comeuppance, we never lose sympathy for the curmudgeonly old fogey. Also outstanding is Brenda De Banzie as the long suffering but incredibly strong willed Maggie, an amazingly strong female character, made all the more remarkable given that the film has its origins in a text now 90 years old.

The crisp black and white photography, courtesy of Jack Hildyard(who also collaborated with Lean on his epic Bridge on the River Kwai) is stunning, beautifully capturing the grimy charm of its Victorian setting, and giving a vivid sense of gritty imtimacy to the dank interiors. Scenes featuring a drunken Hobson are gloriously realised, and gives rise to one of the films most enduring images, that of Hobson attacking the moons reflection in a puddle. Likewise, production design is impeccable, the crews recreation of Victorian era Salford even stretched to Lean throwing rubbish into the river Irwell(the council, on hearing that a film was to be made on location there, spared no expense clearing the riverbanks and water of any such refuse the week before cast and crew arrived, oblivious to the fact that this disarray was precisely the reason Lean and co. had chosen to shoot there).

This amiable comedy is often overlooked in favour of Leans more epic works, but to dismiss it out of hand as something the director cut his teeth on before moving on to better and brighter things would be a grave error. Its unassuming nature, and admittedly slightly saggy third act aside, it's a film with considerable charm, wit, eccentric characters and some hilarious set pieces.