David Lean's hallmark interwar drama, his sophomore feature movie is an adaptation of Noël Coward's play. Shot with gorgeous Technicolor felicity, THIS HAPPY BREED is a compelling slice- of-life story chronicling the vicissitude of Gibbons family from 1919 to 1939, before WWII looming large ominously in the offing. The Gibbons family settles into their new house in South London shortly after WWI, a household of seven, patriarch Frank (Newton), matriarch Ethel (Johnson), their three children: Reg (Blythe), Vi (Erskine) and Queenie (Walsh), as well as Ethel's spinster sister Sylvia (Leggatt) and their mother Ms. Flint (Veness), whose barbs-throwing schticks can never run dry even if being tediously deployed here, and both actresses have poignant moments which vouch for their affecting versatility during the film's most heartbreaking revelation. Lean hones the subsequent smarting long shot with a perversely impassive static shot, entirely banks on Newton and Johnson's reactions, he is already a dab-hand in theatricality at such an early stage! Coward's story gives an easy pass on marital hitches (a recurring beef of Ethel is Frank's drinking problem, but that is occasional and rather comically portrayed), instead, homes in on the generational gap between parents and their children, their disagreements in politics, world-views and lifestyles, a tussle between idealism (hot-blooded, revolutionary, and eager to success) and realism (the innate attributes of British's monarchical roots), an exchange between sage epigrams learned from the college named life and headstrong wishful thinking liberated through the airy-fairy unworldliness. And the POV never deflects from Frank and Ethel, because they are the emblem of mankind, benevolent, upstanding, perseverant and refuse to be squashed by adversity (this is high melodrama so to speak). Meantime, Lean nimbly slips in cardinal societal events to extract the ethos of its time, but refrains from becoming over-patriotic, because, in the end of the day, it is a tale apropos of commonality refracted through the microcosm of a family saga, and it is achieved with a remarkable equilibrium between enthusiasm and sobriety.Impressive performances a gogo, Robert Newton and Celia Johnson are unexpectedly naturalistic when handling those stagy materials - they are simply the best parents one can ever imagine to have, and Johnson in particular, excels in the role which is much senior to her real age, what a range she exhibits! Although, in the earlier segments, it is quite a stretch to believe she could be the mother of 3, since she looks barely a tad older than the three actors who play her children. Kay Walsh, as the rebellious daughter Queenie, has her own moment of grandstanding and she actually pulls off the least likable character with rather unforeseen honesty and moxie, whereas a four- square John Mills, who plays Bill Mitchell, the neighbor's son who carries a torch for her unyieldingly, is a warmth generator pops up intermittently during the family's turbulence. Finally, Stanley Holloway, who plays Bill's father Bob, Frank's comrade-in-arms, chummy and sometimes well-oiled, whenever he appears with Frank, their scenes smack of nostalgia, not of war but heart- felt camaraderie. Through and through, THIS HAPPY BREED is engaging, endearing and brilliantly touching, shorn of highfalutin artifice which might impinge on Lean-Coward's following collaboration BLITHE SPIRIT (1945).

Was it nostalgia I asked myself? Brought up in the fifties many of the attitudes seem familiar although the family itself were an idealised vision of how I remember things. All that said I loved it for what it was, a gentle, often funny, film with superb acting and great visual images. A touching and thoroughly enjoyable film that I am sure I will return to at another time. Not a great film and no massive impact, but what a pleasure to watch and what a shame that the British film industry seems to have lost some of the skills and application so evident in this movie. This is one for a quiet afternoon. It won't tax your mind nor overly excite but it will leave you feeling happier for watching it.

Has anyone else had the feeling that a young Lennon and McCartney were influenced by Coward and Lean?The scene where Queenie leaves could be a perfect video accompaniment to "She's Leaving Home". It matches the lyric step for step.This strikes me every time I see the film. I imagine a late night composing session, with a break where the boys sit down and catch the the British equivalent of "Late Late Show", and are inspired by this quietly powerful scene. It would be interesting to know when this film was in rotation on British television.Anyone else?

I tuned in to this one on Turner Classic Movies out of curiosity - the play is by Noel Coward, and this is the first movie David Lean directed. In addition I was drawn by the cast; there are some wonderful British actors and actresses here - Robert Newton, Celia Johnson, Stanley Holloway, a very young John Mills, and Kay Walsh, among others. As the story is basically a "slice of life" tale about a typical British middle-class family between the two world wars, I was prepared to be slightly bored. Imagine my surprise as the movie drew me in with its carefully delineated characters, witty and perceptive dialogue, and its well-drawn portrait of inter-war British life. In addition, the film fulfills the highest expectation one can have of a great movie - it makes you truly care about the characters portrayed. I suppose I should not have expected less, with two such gargantuan creative talents as Noel Coward and David Lean involved, but none the less it was a wonderful treat. Highly recommended to devotees of British film, Coward fans, those interested in British history, or anyone at all that appreciated great film-making.