clanciai Alec Guinness made quite a pearl or diamond necklace of some of the most delightful comedies ever made, starting with "The Last Holiday" down to "Our Man in Havana" in the 50s. Some of the others between are "The Lavender Hill Mob", "All at Sea", "Lady Killers", "The Man in the White Suit", "Horse's Mouth", and they are all top rate. This one, originally "The Card", is slightly different as he here makes a totally different character from his usual typical characters, as Machin actually is a very subtle trickster who uses his knack for manipulation to good ends no matter how dishonest his tricks are. The equally tricky Glynis Johns therefore suits him perfectly, they would seem the ideal couple for getting anywhere in life by their tricks, but she lacks his subtlety and commits the mistake of thinking she could fool him as well as anyone. By a very fortuitous twist of fortune, Wilfrid Hyde-White appears at the right moment to save them both from each other.It's wonderful story with many odd twists to it, the mother is the one admirable and constant character in this wayward maze of small town intrigue, and I agree with another reviewer that the ball scene is the highlight. It's a small story of small people in a small society, but the story, the film, the music and the players make it timeless.

paxveritas Yes, agreed, this is a light-hearted, feel-good film. Events roll pleasantly along, and Guinness crashes through the class barrier using a wily prudence and opportunism.The problem is, Guinness is always Guinness. That works delightfully in "The Ladykillers" and "The Lavender Hill Mob." Not so much in "The Card." Guinness' constant, somewhat smug semi-smirk gives Denry more of an air of cynicism than suits the general purpose of this movie.The casting director should've hauled George Cole into this role. Cole was twenty-seven in 1952. He would've brought the proper note of innocence/cleverness/playful joy into Denry.By the way, the author of the book this film is based on, Arnold Bennett, gave Denry his own birthdate, and was also a rent-collector for a time (while in the employ of his father).

Scott44 The Card (aka "The Promoter", 1952, Ronald Neame), which offers valuable lessons in social climbing, is a bundle of unrestrained optimism. Made when western societies were fairly open, and set around 1890, it depicts a British version of a Horatio Alger "rags to riches" plot-line. The central figure is clever, opportunistic, resourceful and has great courage in public. He responds to setbacks with new ideas that succeed. The idea that someone like this could rise in power is such a departure from modern times that it should be seen just to imagine when workers could become prosperous.Alec Guinness (seemingly young even though he was 38) is the world-beating Denry Machin. Denry lives with his mother, a washer woman, in poverty. With luck and guile Denry snags a job as a solicitor's clerk. He soon learns that his employer is managing the invitation list to the Countess Chell's eagerly anticipated ball. With only three liberties taken with the exclusive list Denry manages to attend (with two new friends). The ball scene is cinematic magic. Denry wastes little time upon arrival in asking three different woman to dance with him. Unfortunately, the ladies all have different ideas. A little stung, he stands in the vicinity of a group of leading bachelors who are all afraid to approach the lovely Countess (Valerie Hobson), who commands the attention of the room. Feeling inspired, Denry wagers that he will dance with her. He strides forward to her without hesitation. Everyone in the room stares at the unknown Denry—even the dancers stop their movement. Denry asks the beautiful Countess to dance with a confident voice that fills the chamber. There is a pause as we see the shocked faces of her inner circle, who know how she usually responds. She surprises many and agrees to Denry's invitation. Denry dances with her skillfully. The two enjoy themselves. There are not many movie scenes about dancing that top this. (BTW, the number three turns up several times here.)There are three fascinating women in Denry's world. Besides the Countess, there is Ruth Earp (Glynis Johns), initially a struggling dance instructor. She parallels Denry in many ways; she starts out poor and ends up wealthy. She'll also break a few societal rules along the way. (The implication is she marries a wealthy man after correctly predicting he will have a short lifespan.) The chattiest of the three, Ruth has a strong pull on Denry. She is constantly convincing him to spend on her like a queen. Ruth's chaperone Nellie (Petula Clark, who receives a Grammy twelve years later for "Downtown"), is a Cinderella figure. Initially no one gives her much attention. Eventually Denry discovers her beauty. The Countess is rich, beautiful and charismatic. Ruth is magnetizing. Nellie is pretty and fits the best with Denry's home life. So which one should it be? Denry's eventual romantic partnership invites debate over which one would have been the best for him. While the women have texture, Denry's economic climb is more unreal. He is a rent collector for wealthy clients and has to shake down the poorest of the poor. With modern eyes it is hard to imagine how Denry could collect from penniless people, how he could carry collected rents in a metal box alone on dark streets at night, how his new "thrift club" could succeed when he is essentially loaning money to the downtrodden, and do all these things while winning the hearts of everyone around him. The Gilded Age is a distant memory.Director Neame has an interesting way of conveying what is coming during the opening narration. We see an aerial view of "five cities" somewhere in England. Smoke is arriving from the right. The camera pans left and we see two boys in an alley, with one continually pushing the other. We see Denry's mom doing laundry on a rooftop. Then we see Denry as a baby in his crib, immediately crying out. The oppression that is identified visually in the early going will be altered by the man the crying baby becomes."The Card" has a lot of general appeal. If you haven't seen a movie in a long time that made you happy, consider changing your schedule and seeing this at the revival theater offering it. However, if you choose to arrive by a mule-drawn carriage, please make sure the mule does not encounter a moving baton.

MartinHafer This is a decent film--not a great one. But, because it has such lovely acting, I was able to overlook the fact that the writing could have been a bit better. After all, compared to other Alec Guinness films this one is pretty ordinary--but it's STILL an Alec Guinness film--which says a lot.Guinness plays a humble clerk who through a lot of drive, determination and conniving, he's able to quickly get ahead in life. He isn't necessarily a bad man--just an amazing opportunist--sort of like a British version of "How to Succeed in Business Without Even Trying" set around 1900...but with less comedy. In fact, the lack of comedy is the film's weakest point. While it has a few droll moments, the film lacked the dark humor of Guinness' best (such as "The Lavender Hill Mob", "The Man in the White Suit" and "Kind Hearts and Coronets"). Instead, it's kind of cute, a tad funny and just a bit clever.While I am not a huge fan of Glynnis Johns (mostly due to her voice--which limited her range), here she is at her best. I think this is because her character is VERY deep--she's certainly not who you initially think she is and she is probably the funniest thing in the film.Overall, enjoyable and a must-see for any fan of Alec Guinness. However, if you aren't a fan, try watching some of the films I mentioned above first--they are a bit better.