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Kind Hearts and Coronets
INTRODUCED BY ROBERT HAMER
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To be asked to write about one of your own films savours mil of being asked to write your own obituary, for the former process threatens elements of the latter's twin traps of apparent conceit and assumed modesty.
Especially is this apparent to me in the case of this film, for of nothing and nobody connected with it have I any but the most affectionate memories.
However, to linger on the horns of this dilemma is unfruitful as well as uncomfortable, so I had better dare to say what we hoped to and hope we did — achieve.
'What we hoped to achieve.' That was a long time ago and, as in the case of a bygone love affair, time has clouded the details. When it comes to the point I can't remember any moment when I had a clearly-defined intention. It started with my thinking that a novel by Roy Horniman contained the germ of a film. It continued with seven weeks of staring at a blank sheet of paper, followed by one week of frenzied writing from dawn till midnight. There were subsequent versions, but that first one determined the style and mood and characters. About sixty per cent of the finished film is virtually unchanged in shape, content, dialogue and commentary from that first version.
As discussion followed discussion, and version version, it became evident that we had a subject with most agreeable possibilities. Did these possibilities generate intentions, or had previously latent intentions generated the possibilities? Looking back, I prefer to think the latter, though I remember no feeling at the time of being animated by stern endeavour, but merely the fact that it was fun to write, fun to argue about, fun above all to shoot.
What were the possibilities which thus presented themselves? Firstly, that of making a film not noticeably similar to any previously made in the English language. Secondly, that of using this English language, which I love, in a more varied and, to me,