Pen-Ultima Thule – The Edge of the World (1937 cut), Birkbeck College

“Edge of the World was entirely saved for me by the editor (Derek Twist) … I mean, Flaherty with no story – at least I had the semblance of a story – took about six months to cut Man of Aran, and then it wasn’t any good…”

Michael Powell, Powell, Pressburger and Others (1978) BFI

The last few decades have seen a bonanza of different mixes, demos and alternate cuts of the output of the most familiar musicians from The Beatles and The Stones to even JS Bach, Erik Satie and Taylor Swift (not together…). Each new variation fascinates and paints a picture of the artists on route to their eventual well-known statements, the elements of Strawberry Fields Forever are interesting because they sound so different to the magical mix created by George Martin and his “Boys” and they show how decisions were reached in search of the perfected final version.

So it is with film, with a boom in “Limited Editions” featuring different cuts of even the most esoteric of films. Getting to see a different version of a classic film some of us have seen dozens of times is pretty rare though and to see Michael Powell’s first major “personal” cinematic statement in a form not seen since its original release in 1937 is not only rare it’s almost certainly unique and it happened again on screen right here on 8^th July 2025 in Birkbeck Institute for the Moving Image Cinema a lifetime after it was last seen in this form.

How there came to be a copy of this Mark I release of the film is a story of its own and owes everything to conversations between passionate cineastes one of whom, Bob Geoghegan, Director of the Archive Film Agency and a man of many parts, knew he had a copy of the film safely stored on 35mm nitrate but not the exact age. SO it was that investigation revealed it to be a print from the year of release and one that was different from that we know in significant ways. He duly created a digital transfer from these materials for projection at this event.

Inspired by the evacuation of the Island of St Kilda a few years before, The Edge of the World has been recently restored by the BFI and I’d last seen this at Bologna in 2023 but this was something else entirely as Christopher Bird explained in his introduction to a room full of the very people you’d usually find in Il Cinema Ritrovato, some who’d come a long way for this rarity. Chris had scrupulously prepared a shot-by-shot comparison video for four key moments from the films, showing us three before revealing the fourth a very important moment from the ending shot which I won’t spoil.

Technically, Michael Powell is a much better filmmaker than Robert J Flaherty...

The video ran the two versions side by side and it was easy to see the gaps in the restored version against the fuller shots on this 1937 version. For whatever reason – and this is where the historians come in and dig deeper than the primary evidence – Powell re-edited the film in the 1940s no doubt when he had more success and clout behind him so that the version we have been watching all of lives is what he wanted us to watch some eight (?) years after it was first released. As he said in the quote at the top, Derek Twist brought this production home with Powell struggling with a limited budget and, after St Kilda’s owner refused, a last-minute change of location to the island of Foula across the North Sea to Shetland.

In general, the newly-revealed film showed more of the reaction shots to discussions between the main characters filling out the narrative and engaging us with more of the wonderful locals who we would see again when Master of Ceremonies, Professor Ian Christie, screened Return to the Edge of the World a BBC-funded documentary returning Powell, John Laurie and Grant Sutherland back to the remains of the society they filmed amongst. It’s a wonderful film and Laurie is full of mischief with a mystical twinkle greeting every islander who’s name he feigns to have remembered. A special time for both.

I’ve written about this film a number of times before on here but every viewing only makes it more impressive – not least because of the three or so “new” minutes but also the achievement of Powell’s team in making of the film was an epic adventure in itself. "200,000 feet on Foula" was Powell's original title for his book on the making of the film and references the immense amount of footage shot… thanks be to Mr Twist again!

Powell and drama-documentarist Robert Flaherty did not get on and their methods were so different with the Englishman choosing to use actual actors for his depiction of disappearing cultures. In the end the skill of the story making as well as the players and crew win the day for Foula. EOTW is about as political as Powell gets as he highlights the failure of government to support the islanders as they drown their dogs and cut their losses in the saddest of circumstances. I wonder what happened to the folk of St Kilda, Rachel Johnson, the last of the native St Kildans, died in April 2016 at the age of 93, having been evacuated at the age of eight… what stories did she and other tell of their traumatic changes? Powell caught the dramatic truth better than his rival over on the Irish Aran.

Christie and co also presented us with some fabulous extras including Smith (1939) a public information film promoting a charity helping ex-servicemen, The Embankment Fellowship Centre, which was once lost not just to film archives but also film history. This was introduced by the remarkable Mark Fuller who’d actually found the only remaining copy by tracking down the charity - now called The Ex-Service Fellowship Centres - who revealed that they not only have materials about the project but also a copy of the film! They are now called Veterans Aid and the film is available to view on their website.

We also saw the poignant, An Airman's Letter to His Mother (1941) which is so revealing of the times in which Powell made films and the nature of lived experience during wartime.

My thanks to the following:

• Christopher Bird
• Ian Christie
• Mark Fuller
• Bob Geoghegan

And also the audience of some of the most cinematically curious people in the country and, indeed, in the town!

The next event at the BIMI is Voices from the Chorus presented by Ian and Robert Denning. Full details are available on the Birkbeck website.

For whom the bell tolls… Black Narcissus (1947), Cinema Ritrovato XXXVII, 2023 Part 2

If, watching one of the greatest British films, on a fresh 35mm copy (created in 2020 from an interpositive printed from the original three-strip negatives...) and on the biggest screen possible with thousands of others in Bologna’s Piazza Maggiore is not peak Cinema Ritrovato then I don’t know what is… In fairness this is a festival with many summits yet how many of those are introduced by leading Archers-ologist and “friend of the band” Ian Christie and, especially, one of cinema’s finest editors and, for ten years, Mrs Michael Powell, Thelma Schoonmaker.

 

If Ivan was Man of the Week in Silence then surely our Man of the Week in talkies, and some silents, has definitely been Michael Powell as we’ve been treated to restorations of some of his so-called Quota Quickies which in an excellent primer for the series, Christie and Schoonmaker explained were often budgeted on one pound sterling per foot in an attempt to protect British film when the American talkies were just out-competing the domestic industry. An act of parliament resulted which insisted that British films be shown before any imported headliner. They were of varying quality but, as Alexander Korda’s Reservation for Ladies (1932 and recently screened on stunning nitrate stock at the BFI) showed, an able director could do a lot with the right talent available.

 

Powell, who learned his trade in the South of France working in any capacity he could to aid Rex Ingram, first produced a series of silent comedy travelogues in which he played the odd butterfly collector who also did all his own stunts. They’re charming and a vital piece in the projected Powell history I had never seen, slapstick but doing the main job of making the locations look interesting.

Riviera Revels, Michael Powell as Cisero Simp in the snow 

The “quickies” followed and these were definitely a mixed bag each one of which shows the director making the most of cast, crew and budget as well as his tightly regimented small ensembles. First up,  Hotel Splendide (1932) is a fun piece with that well-drilled troupe making the most of classic but predictable misunderstandings; pretty much a farce with extra beats for cross-dressing and criminality. I was less impressed with His Lordship (1932) about an impoverished nobleman who prefers plumbing to the ‘ouse of Lords, it’s still worth watching though for some cheery songs that occasionally rise above mere British “pluck” (code: giving your all on a limited budget).

 

Something Always Happens (1935) was my favourite not least for the easy-going assurance of Ian Hunter whose character Peter always believes his salvation is only just a flash of luck and sales genius away… the stakes rise suddenly when he “adopts” a waif and stray (excellent performance from young John Singer as Billy and then meets an attractive young women, Cynthia (Nancy O’Neil) who encourages him to pitch his revolutionary ideas about forecourt trading to the market leader and notorious corporate killer, Benjamin Hatch (Peter Gawthorne) who is, unbeknownst to Peter, Hatch’s daughter.

 

Nancy O’Neil and youngJohn Singer with Ian Hunter

Peter heads off to the competition and really brings it on the Hatch crew who, at some point are going to have to recognise the man’s business genius as well as the fact that he’s won the heart of hard-hearted Hatch’s daughter.  Powell was pleased, writing in his autobiography, A Life in Movies: “A very good comedy… We played it all out for laughs and great speed, excellent dialogue. It was about a chap who never pays for anything.”

The Red Ensign (1934) was another more successful project helped considerably by the lead actor, Leslie Banks as shipping magnate David Barr. It’s a bit of a propaganda film calling for workers to support the ideas of new leaders as the country fought to revive its merchant navy – those who fly the Red Ensign – in the face of competition from across the globe. Barr has a revolutionary new idea to improve loads and capacity but he needs to persuade his stuffy old directors to invest and his loyal workers to skip the odd payment, it’s flag-waving fantasy but still effective drama. I wonder what happened…

 

Judy Gunn is not impressed with Louis Hayward

The Love Test (1935) was promising with Judy Gunn’s Mary Lee being the leading scientist of a group dedicated to the discovery of flame-proof celluloid. When the time comes and her boss has to resign for his health, Dr Mary is the obvious choice to run the team but, not so, comes the response from all but one of the old school chauvinists who will now be working under her. Rather disappointingly they decide the thing to do is to get one of the team, John Gregg (Louis Hayward) to romance her and put her off the project through his manly wiles… He doesn’t want to do it but former school bullied like Thomson (Dave Hutcheson), clearly have no interest in science just one-upmanship.

 

It's a rather depressing premise and one that threatens to run away with the film in then end… thank Heavens for a classy, brassy secretary Minnie (Googie Withers in her first part?), who outshines most of the dinosaurs. 1935, and industrial competition at a height and these men only want to mess around to bring their female boss down? I don’t think so.

 

On a lighter note, the Phantom Light (1935) is a perfectly serviceable adventure featuring some lovely location work in Snowdonia as well as the classic situation of an isolated lighthouse in a storm with a killer on board. Ian Hunter is in board as is the ace Gordon Harker, so you know it’s going to be well acted. Then there’s Liverpool’s Binnie Hale to prove that high heels are the correct response to any crisis and Donald Calthrop to provide much needed gravitas.

Close to the edge... Eric Berry and Belle Chrystall

By 1937, Powell had achieved enough to be given a larger project, The Edge of the World, to be filmed on the remote island of Foula with a cast including Finlay Currie and the great John Laurie which examined the recent depopulation of the island of St Kilda in the 1920s as the economy dwindled, young folk opted for the mainland and the critical communal mass broke down.

 

Here Powell is the anti-Flaherty – the two we not on good terms as per Ian Christie - with the Englishman preferring to use actual actors for his acting and presenting a way of life in more pointed and honest ways. EOTW is about as political as Powell gets as he highlights the failure of government to support the islanders as they drown their dogs and cut their losses in the saddest of circumstances. I wonder what happened to the folk of St Kilda, Rachel Johnson, the last of the native St Kildans, died in April 2016 at the age of 93, having been evacuated at the age of eight… what stories did she and other tell of their traumatic changes?

 

It’s a beautiful film to watch with highly-skilled cinematography, consistency of tone and vision, "Edge" is infused throughout with Powell's trademark mysticism. It clearly features many of the signature elements that would underpin his wonderful career. Made over many difficult months in the remote and inhospitable environment of the island of Foula, having been refused permission to film on the deserted St Kilda, the making of the film was an epic adventure in itself. ("200,000 feet on Foula" was Powell's original title for his book on the making of the film and references the immense amount of footage shot.)

 

Apart from Currie and Laurie there are smart turns from Eric Berry as the gifted engineer Robbie Manson who wants to use his skills in the wider world; Belle Chrystall, as his sister Ruth (possibly the only woman with plucked eyebrows in the whole of the western isles...) who is being romanced by Niall MacGinnis’ Andrew Gray. The three are the future of the island and that’s on or off depending on the outcome of a treacherous cliff race and the immovable object of Laurie versus Currie’s gentler but no less resolute pragmatism.

Findlay and John

It's a film to relish on the big screen as is Black Narcissus which looks simply remarkable for a film of its vintage and which was filmed largely in studio and in England… across every element this is near perfection from Powell and Pressburger, Jack Cardiff and Alfred Junge with W. Percy Day's eye-boggling matte painting. The colours are stunning, the images sparkle, and Deborah Kerr, Kathleen Byron, David Farrah and company are all magical. The film manages to convey an eerie sense of place, huge scale and yet all crowded in by the distance all around and the endless wind pushing through everything, a restless force that crushes all but the hardiest of souls.

 

There’ll be more time to examine all of these things in more detail for the BFI’s Autumn Powell Festival but this selection, and the stunning centrepiece, really whetted the appetite not just for a broader appreciation of Powell and Pressburger’s work, but also the director’s separate projects. It’s going to be a fascinating programme and likely one which will make us see the Archers and their most frequent collaborators in a different light: the best of British Cinema operating at a high level less than a decade after we almost lost the industry for ever. Thank goodness the Government of the day intervened and that we still had the talent to make the most of the opportunity offered.

 

See them all at the BFI in October, meanwhile thanks to the Cinema Ritrovato for showing the international appeal of Britain’s greatest film makers.

 

*I missed just one film in the strand, Her Last Affair (1936), something to save for London especially as it features another show-steeling turn from Googie Withers not to mention John Laurie.

W. Percy Day's craft and 

Films about islands (part 1)…Man of Aran (1934), The Edge of the World (1937)…the Isle of Arran…

A couple of weeks back, I spent a few days on the Scottish island of Arran. This was my first western isle and it was stunning: rugged and beautiful with a landscape and atmosphere made that bit more intense by its isolation. It's not that easy to get to and when you get there you want to stay. When you leave you want to go back. Is it instinct?

There's something about islands...

Robert Flaherty’s 1934 film, “Man of Aran” is one of the main claims to glory of the man who largely invented the documentary or, more accurately, the docu-drama.

Filmed over a three-year period in the uncompromising wilderness of the Isle of Aran, off the coast of the Irish Free State (as it was then known) the film purported to be an accurate representation of island life as Aran Man eked out an existence from a land with no soil and a sea with no mercy. It has been controversial ever since.

Once the locals could be persuaded, three were chosen to represent the family at the core of the film: Mickleen Dillane as the boy, Maggie Dirrane as the woman and one Coleman Tiger King as the man of Aran himself. They played their parts admirably well as Flaherty had them pitted against the trials of brutal existence…transporting large baskets of seaweed and precious soil to create growing patches for potatoes smashed from the rock itself, literally clinging onto the rocky shore as they pulled their boats and fishing nets from the hungry sea and battling for days to capture a mighty basking shark.

The scenes involving the hunting of the shark are amongst the best. The sharks were a vital source of oil and sustenance for the beleaguered islanders and could take days to catch. Even though, apparently, this method of fishing had stopped half a century before the scene is real, a desperate struggle between men, the elements and the doomed shark.

Whatever the level of artifice in Flaherty’s film, he captured a way of life that was still in living memory then. Eighty years later this is an amazing slice of celtic memorabilia. This is how some of us used to live. Really.

Filmed four years later, Michael Powell's "The Edge of the World" was undoubtedly influenced by "Aran". Powell's first full-length feature, the story was inspired by the evacuation of the Scottish island of St Kilda in 1930 when the local way of life could no longer be sustained as mechanised trawling rendered local fishing uncompetitive.

The film encapsulates the conflict within the community in the relationship between the Manson and the Gray families. Should they stay or should they go? Robbie Manson (Eric Berry) is a gifted engineer and wants to use his skills in the wider world; he thinks the time is up for the islanders of "Hirta". His sister Ruth (Belle Chrystall, possibly the only woman with plucked eyebrows in the whole of the western isles...) is being romanced by Andrew Gray and both want to stay. Their fathers are also contrasted, the great Findlay Currie plays James Gray, a pragmatic man who feels the time for change may be near and the inflexible and proud Peter Manson played with gaelic intensity by John Laurie.Laurie is magnificent and deserves wider recognition for his craft from those of us more used to his turn as private Frasier. Looking a little like a rugged David Tennant, he tears up his scenes as the islanders' divisions lead to tragedy.

Andrew and Robbie race each other up the rock face and the latter pays dearly for making the wrong choices on the climb. Then it is Andrew who leaves the island prevented by an unforgiving Peter from marrying Ruth who, unknown to him is now carrying his child.

Andrew joins one of the hated trawler crews and finding out about his unexpected fatherhood, returns just in time for the ship to bring his baby to the mainland for medical help. Finally realising that the game is up the islanders decide to evacuate en masse but, as the last ship is due to leave there is time for one last tragedy as the last man "goes over".

A beautiful film to watch with highly-skilled cinematography, consistency of tone and vision, "Edge" is infused throughout with Powell's trademark mysticism. It clearly features many of the signature elements that would underpin his wonderful career. Made over many difficult months in the remote and inhospitable environment of the island of Foula, having been refused permission to film on the deserted St Kilda, the making of the film was an epic adventure in itself. ("200,000 feet on Foula" was Powell's original title for his book on the making of the film and references the immense amount of footage shot.)

The excellent BFI DVD includes a 1923 travelogue, "St Kilda - Britain's Loneliest Isle" showing fascinating footage of a boat trip of the western isles which culminates in a visit to Kilda. The tourists run a film show for the islanders who are astonished by their first sight of cinema. The comparison between the well-healed leather coat wearing mainlanders and their island brethren - still dressed as nineteenth century - is startling. Not many Belle Chrystall's amongst them. These people, as with those of Aran, had no time for fashion just the relentless focus on survival.

The DVD also includes a precious 20 minutes short from Powell which details his return in 1978 to the island with some of the surviving actors and crew from "Edge". This is a delight and shows that, almost two decades on from "Peeping Tom" he had lost none of his wit, good humour or positivity. John Laurie is also a wonder, revelling in their return and meeting up with some of the same islanders featured in the original film..."these were the golden days, Michael" he says to Powell as they walk the cliff ways. Indeed they were.

The "Edge of the World" is avilable direct from the BFI, whilst "Man of Aran" is on Amazon.

There should be more films about islands!

But, if you want to see a real island and not just a film...I'd heartily recommend Arran. Loads of enticing details on (our island guide) Lucy Wallace's excellent wildonarran blog!