Horst in Translation ([email protected]) "The Bespoke Overcoat" (this is the more known version) is a British 35-minute live action short film from 1955, so this one is already over 60 years old. It is the story of one man who is freezing cold longing for the item mentioned int he title, but it is all too late and he dies. However, not even this can keep his ghost from returning and with the help of a friend still try to get the bespoke overcoat. As for the time common, it is a black-and-white sound film and this one was really successful with awards bodies as it took home the Oscar and also had a pretty good time at the BAFTAs that year. The cast may probably be especially known to British film buffs as I must admit I don't know any of the gentlemen in here. Sadly I must say I did not enjoy the watch too much. Perhaps at 20 minutes it could have been a really successful project, but at almost twice the runtime I felt that it had some lengths and eventually these also made a negative impact when it comes to the pretty emotional ending that is certainly the highlight of the entire thing. Don't get me wrong, this is by no means a failure, but I believe the awards attention may have been a bit too much. I am not sure if it is worth sitting through the first 32 minutes for the last 3. I would say no. That's why overall i cannot give a positive recommendation here. i suggest you watch something else unless you are really a huge fan of any the actors in here, who by the way were all a lot younger back then than they may appear to be.

Robert Reynolds This short won the Academy Award for Live Action Short, Two-Reeler, over two shorts from Disney, which was no small feat back then. There will be spoilers ahead:The title of this short refers to the practice of custom-tailoring clothing to fit an individual, with such apparel referred to as "bespoke" and thus not to be sold to anyone else. The short begins with a funeral and a tailor dropping a coat in a grave. The story is related by the ghost of the dead man visiting the tailor that night.The tailor, named Morrie, is friends with Fender, a clerk for Ranting and Co., a clothing manufacturer. When Fender asks the current owner of Ranting if he can buy a sheepskin coat on time, he is callously refused, even though he's worked for the firm for more than 40 years and knew the current Ranting when he was a child.Fender pleads with Morrie to mend his current coat, but it's too old and can no longer be repaired, it's too far gone to be mended. They strike a bargain on a custom coat at cost. Morrie begins making the coat and gets a down payment.Fender gets sacked by Ranting and tearfully tells Morrie he cannot pay for the coat. Fender gets sick and dies of pneumonia. He is the ghost who visits Morrie and asks for his help in settling a debt of honor with Ranting. They go to the warehouse, where the ghost of Fender gets them in the warehouse and Fender helps himself to a sheepskin coat. Fender then asks Morrie to say a prayer for him and the short ends back at Morrie's with Morrie praying for Fender.The three principal roles are all well done by the actors, but Alfie Bass stands out as Fender. It's a wonderful short and richly deserved its Oscar.This is available on a region 2 DVD release of The Innocents and I saw it online. Most highly recommended.

margaret8541 I saw this film tonight December 2008 on TV and it was a grainy black and white. That is the worst thing I can say about it. I have in the past seen David Kossoff and Alfie Bass in many films but none ever had the impact that this film had on me. David Kossoff has always been regarded as a very good actor and so he was in this film. But I know Alfie Bass more for the comedy roles that he has played. His performance in this film was outstanding. I see that he was nominated for a Best Actor Award and I think his performance was Oscar standard. This film has made more of an impression on me than any of the more recent films made with big stars and big budgets. I would recommend this film to anybody who enjoys a good story, great acting and older films. I give it 9 out of 10 only because I don't believe that it is possible for human beings to be perfect.

MARIO GAUCI Celebrated British fantasy short from an equally famous source, a story by the great Russian novelist Nikolai Gogol which has been filmed several times (I own two other adaptations myself: the 1952 Italian version and a 1954 TV program also made in Britain: interestingly, both of these had served as dramatic showcases for comic stars i.e. Renato Rascel and Buster Keaton[!] respectively). For the record, yet another acclaimed cinematic rendition of the tale is the Russian one from 1959.In the case of the film under review, however, the essentially low-key handling benefits tremendously from the presence of character actors in the central roles (and also by emphasizing their Jewishness): Alfie Bass – some of his mannerisms here would be reprised in Roman Polanski’s horror spoof THE FEARLESS VAMPIRE KILLERS (1967)! – is the poor and meek clerk, who wishes to own an overcoat that would shield him from the cold environment at his workplace (ironically, a textile business), and David Kossoff the modest but “Number One” tailor he entrusts with the task.Actually, the film begins with Bass’ funeral – and Kossoff buries the coat with him, the former having died (of a broken heart from being sacked) before it was completed. Subsequently, the tailor is visited by the ghost of the clerk – recounting the animosity with his employer, how the ownership of the overcoat became a question of dignity and pride, how he lost his job and ensuing lonesome death. Bass, however – who feels spited, having been shown no gratitude for the service he diligently rendered for so long – asks Kossoff to accompany him to the shop intending to ‘abscond’ with a piece of expensive fabric (finally settling on a sheepskin coat).Director Clayton boldly chose to treat ghost stories with the same level of realism accorded to a gritty drama (see also THE INNOCENTS [1961], on whose R2 SE DVD this short was thankfully made available) and for which he employed cinematographer Wolfgang Suschitsky (especially effective are the transitions from the present to Bass’ recollections and back again) and composer Georges Auric (who supplies a lovely score). The end result – which emerged both an Oscar and Venice Film Festival winner – is fascinating and virtually flawless, ensuring its solid reputation (for a short subject) among cineastes.