The Horse's Mouth (1958)

User Rating:

7.7/10   

Director:

Ronald Neame

Writers:

Joyce Cary (novel)
Alec Guinness (writer)

Release Date:

11 November 1958 (USA)

Genre:

Comedy

Tagline:

Smart Alec

Plot:

A somewhat vulgar but dedicated painter searches for the perfect realization of his artistic vision, much to the chagrin of others.

Plot Keywords:

Painter | Nude Model | Thames | Painting | Screwball

Awards:

Nominated for Oscar. Another 4 wins & 3 nominations

Cast

Alec Guinness	...	Gulley Jimson
Kay Walsh	...	Coker
Renee Houston	...	Sara Monday
Mike Morgan	...	Nosey
Robert Coote	...	Sir William Beeder
Arthur Macrae	...	A.W. Alabaster
Veronica Turleigh	...	Lady Beeder
Michael Gough	...	Abel
Reginald Beckwith	...	Capt. Jones
Ernest Thesiger	...	Hickson
Gillian Vaughan	...	Lollie

Runtime:

97 min

Country:

UK

Language:

English

Color:

Color (Technicolor)

Aspect Ratio:

1.66 : 1

Sound Mix:

Mono

Certification:

USA:Approved (PCA #19408) | Finland:S | Spain:T | Sweden:Btl

Filming Locations:

Shepperton Studios, Shepperton, Surrey, England, UK

Company:

Knightsbridge Films

Trivia:

Mike Morgan died ten days before the end of shooting. Some of his lines were dubbed by an unknown actor in post-production.

Quotes:

Gulley Jimson: Of course you want to be an artist. Everybody does, once. But they get over it, like measles and chicken pox.
Nosey: But there have to be artists!
Gulley Jimson: And lunatics too! But why go and live in an asylum before you're sent for?

Movie Connections:

Referenced in Curious George (2006)

Soundtrack:

LIEUTENANT KIJE

Too Neglected

My late wife, an artist, loved this film, and it gave me such insights into the way her mind worked. Guiness is wonderful; for once we see many levels of the character he portrays. Kay Walsh is so touching as the woman in his life, while Mike Morgan makes the perfect art groupie. It's funny to see Dr. Pastorious in old age; he has barely changed since Bride of Frankenstein.

The humor is gentle and quiet except for the studio renovation scene, but it is when Gully stands in front of a canvas that the truth of this film comes out. His almost soliloquy on the human foot; the scene where he shrugs and says that was not what he was trying to say, after he has ruined the toff's wall, these are priceless and our entry into an artist's mind. When the houseboat sets sail down the Thames, to the comment about the sea by the looney who pipes Gully aboard is a bit of perfection set on celluloid. He stands there, framing a vision of another canvas on the hull of a freighter, while reciting this wonderful doggerel that I always get mixed up when I try to say it, and all the while Nosey and Sara spur him on. I've never read the book and wonder if this represents his death, but I take from it what I will.

One other thought: there are certain films shot on location that should be filed away as time/place documentaries. This one is a perfect example: London 1958.