The Man in Grey is directed by Leslie Arliss and adapted to screenplay by Margaret Kennedy and Doreen Montgomery from the novel of the same name written by Eleanor Smith. It stars Margaret Lockwood, James Mason, Phyllis Calvert and Stewart Granger. Music is By Cedric Mallabey and cinematography by Arthur Crabtree.A forerunner of Gainsborough's Wicked Women movies, The Man in Grey is a delicious slice of British noir pie.Proudly decked out in period attire, story is ripe with dastards, narcissists, connivers, the selfish and the cruel. Headed up by Mason's Lord Rohan and Lockwood's Hesther Shaw, these people will stop at nothing to get what they want in life. It doesn't matter who is around them, friends and family etc, if they can in any way hinder their respective selfish goals then they will be trampled upon and not a further thought will be given. It all simmers to the boiling point where lives will not just be ruined, but also ended.The four principal players are great, their respective careers well on the way to leaving behind considerable bodies of work. Arliss (The Night Has Eyes) keeps the story simple in spite of the many character strands and traits jostling for meaty exposure, and photographer Crabtree (Waterloo Road) accentuates the miserablist ambiance with sharp black and white lensing.The use of black-face on white actors is awfully out dated, as is some of the dialogue, but don't hold these things against The Man in Grey. It's a darn fine bodice botherer, resplendent with characters straight out of noir's dark alleyways. 8/10

The first official "Gainsborough Gothic" bodice-ripper was a smash hit for WW2 weary audiences in Britain, making instant stars out of James Mason, Stewart Granger, Phyllis Calvert and Margaret Lockwood. Audiences went back to the cinema time and time again to see the diabolical exploits of the nasty and sexy Mason, the cruel and calculating Lockwood and the doomed lovers Granger and Mason. The Regency-era setting is cleverly contained in a flashback from a WW2 black-out. Lovely, fair-headed and popular Clarissa Richmond (Calvert) befriends a poor pupil at her school, the raven-haired and almost humourless Hesther(Lockwood). Big mistake! In the years to come Clarissa has married the dastardly Lord Rohan (Mason), who only wants her as a broodmare. Things are looking up when she comes across Hesther again, and meets the dashing Rokeby (Granger). But then Hesther has her eye on Lord Rohan...So, how does this melodrama with a rather hokey plot (though it's very much "Vanity Fair" spun-off) hold up today? Not bad, not bad at all, if you can forgive the creakiness and chunks of awful dialogue. The four stars all create such believable persona's that they were all pretty much typecast forever. Interesting that Lockwood only really played three "wicked" women in her career, but she's forever immortalised by this and her subsequent "The Wicked Lady". While Mason, Granger and Lockwood stick out firm in the memory, Calvert is really the glue that holds it all together though. Her Clarissa is almost so sugary to induce diabetes, but Calvert makes her believable and sympathetic.

Most of us have seen Gainsborough's film of "The Wicked Lady" (1945) as it is easily commercially available on DVD/Video and is shown on old movie channels and I suppose is arguably Margaret Lockwood's (ML) most famous role in the public's eyes."The Man in Grey" (1943), another Gainsborough costume drama film, was produced two years earlier and must have had a decisive influence when casting for the aforementioned film.Once again Margaret is at her scheming, calculating, evil best in the role of Hesther.In the "Miss Goody Two Shoes" role of Clarissa, Phyllis Calvert oozes genuine charm.James Mason (JM) was developing his character of the upper class sadistic cad as Lord Rohan (he and ML of course had the principal roles in "The Wicked Lady"), while Stuart Grainger inhabits his customary charm in the role of Rokeby.Included in the main supporting character roles (who also appeared in the latter film) were Gainsborough stalwarts Martita Hunt as Miss Patchett and a disguised (it didn't fool me) Beatrice Varley playing a gypsy.Finally consistent direction for these two films was given by its director, Leslie Arliss.The action opens at an auction when a later generation of Clarissa and Rokeby (played by the same actors mentioned above) form a similar friendship as their forebears.They are bidding on objects which subsequently feature in the "go back in time" drama.Shift back 250 years or so and Lord Rohan needs an aristocratic brood mare to carry on the line of Rohans.Clarissa is put in the starting frame at a time when marriages were more of a property contract between "noble" families, and certainly not bound in love.That's where mistresses came in.I will not provide a "spoiler" but like in "The Wicked Lady" the good lady invites a veritable cobra into her house and soon ML is plotting to take over her role since she and JM have so much in common.If you enjoyed "The Wicked Lady" you are bound to relish "The Man in Grey".With such a pedigree of actors on hand it cannot fail to please.

The Man in Grey was the first and probably the most successful of the Gainsborough melodramas. The lavish regency tale centres around the aristocratic Clarissa Richmond (Phyllis Calvert) who dutifully enters into an loveless arranged marriage with the cold hearted Lord Rohan (James Mason)- the Man in Grey of the title.Love and intrigue are to enter Clarissa's life when a chance meeting with an old school friend, the scheming Hester (Margaret Lockwood), leads her to the dashing Rokeby (Stewart Granger).The story reaches its dramatic conclusion through twists and turns of plot and excellent performances from who can be called the four cornerstones of the war time British cinema - Stewart Granger, James Mason, Phyllis Calvert and Margaret Lockwood.The Man in Grey is my personal favorite of all the Gainsborough films, it is high drama and escapism. The Man in Grey is definitely worth another look.