Carnival (1946)

Very well executed

hyped garbage

Absolutely the worst movie.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

That seems to be the motive of the troubled heroine played here by Sally Gray, the illegitimate daughter of Catherine Lacey and Stanley Holloway who is desired for adoption for three monsterous great aunts and kept with her natural parents when they decide to marry. Told by her mother as a young girl that she has the potential to become a much desired stage star, she does just that, becoming a popular young ballerina and the object of much affection. Brought up to act like a great lady, she's also strong willed, selfish and uppity, the hallmark of many a classic soap opera diva, but happiness is not to be hers. An ill-fated romance with the dashing but struggling artist Michael Wilding leads her into an extremely unhappy marriage with visiting farmer Bernard Miles whose religious fiend of a mother (Nancy Price) badgers him to become insanely possessive and judgmental towards everything that Gray does.There's much left to be assumed about the leading character, seemingly a sweet little girl but oh so haughty when she grows up, filled with resentment to anything lower class and determined to hit the top and erase her past as much as she can. It's a great acting exercise for the gorgeous Sally Gray who is as regal as a young lady can be, but nothing in the script indicates that her long suffering mother raised her to rise above her station. Some of the performances are quite dark (Miles), over the top (Price) or so low key (Wilding) that you barely notice them. Jean Kent is quite good as Gray's best friend, an interloper who infiltrates her way onto a private dinner between Wilding and Gray. The film starts off darkly, lightens up a bit, then goes way off the beam in the last few reels. Still, the photography and musical score are haunting and the other production values first rate, so it's hard to completely find fault with the film as a whole.

Based on a novel by Compton McKenzie, CARNIVAL is about Sally Gray, a girl from an unhappy home who joins the corps de ballet and entrances all the men: Michael Wilding, an artist, Michael Clarke, his best friend, and Bernard Miles, who marries her and takes her and her crippled sister, Hazel Court, to his dark Cornwall farm.The movie is full of actors giving fine performances, but it suffers from a problem frequent to the era, of being cut down, both in terms of what can be depicted in a movie, as opposed to a novel, and what would pass a censor. As a result, it becomes a movie of incidents, in which Miss Gray's character often seems to be uncertain as to what she actually wants -- which is, I believe a major point of the story -- and in seeming inconsistencies in Miss Gray's character. In the end, it all fits together, although the viewer may lack the patience to assemble the jigsaw offered.Even so, the production values, the location shooting and the performances offered will serve to make this worthwhile, particularly for those anxious to see what Miss Gray had to offer after an absence of five years from the screen.

Not one cockney in sight but you can't really blame simpleton country farmer Bernard Miles (Trewhella) for his humorous comment referring to Londoners in this way. A lot of northerners even today refer to all Londoners as cockneys and I know this as I'm a Londoner living up north. Anyway, the central casting of Sally Gray as dancer Jenny or Ginny is completely wrong in this film. She is meant to be born into a working class family but has this ghastly air of superiority only found in the most confident of wealthy children. And her accent is pure upper class. This is completely wrong for the film. Also, her name changes in the film – she definitely starts off as a Ginny and by the end of the film and the cast list at the end of the film, she has turned into a Jenny. She was called Ginny! Loads of times! The film suffers as its two main characters – Gray and artist Michael Wilding (Maurice) are totally unappealing and we just don't care what happens to them as they are awful. The two characters who stand out are Stanley Holloway (Charlie) as Gray's dad who portrays a working class dad correctly and with a dash of humour and Bernard Miles as the humble farmer from down South who undergoes a character change and walks away with the film's acting honours. Nancy Price is also memorable as the uber-religious nut-case mother of Miles.The story is one of taking the wrong path when it comes to love and the effect it has when everyone gets it wrong! Holloway and artist Michael Clarke (Fuzz) are the most likable characters and your sympathies are with them. Back to the story, you can see how this will end and I just didn't care. Back to northerners, they also say "tea" when they mean "dinner" and I'm just another blasted cockney from South Kensington!

Having just watched Carnival I was interested to see what other IMDb users thought about it. Astonishingly there was just one review! Extraordinary! Well - if you get the chance, do try to catch this excellent piece of British cinema history. As well as being an unusual, well acted and interesting drama, Carnival is crammed with wonderful English stars and character players ... in fact, there are so many that well-known faces such as Kathleen Harrison aren't even billed in the credits! The film marked Sally Gray's triumphant return to the screen following a five year absence, and although a good ten years too old for her role, she still gives a luminous performance, commanding all her scenes with a natural authority and star quality. There is one scene which made me smile, as the supposedly 19 year old Sally looks into a mirror and wistfully says "In eleven years I'll be 30. I wonder what I'll look like". Not much different, one imagines the audience thinking. The plot concerns a young dancer (Sally Gray) in turn of the century London. Her home life is not particularly harmonious, living with her mismatched parents (Stanley Holloway and Catherine Lacey) and her younger sister (Hazel Court). Courted by stage door johnnies along with her fellow dancers (Jean Kent, Brenda Bruce), she resists temptation but does fall in love with a temperamental artist (Michael Wilding). When he asks her to go away with him, she must choose whether to follow her heart or stay on the straight and narrow. At this point the film takes a most unexpected and fascinating turn, leading to a genuinely shocking conclusion, and I defy anyone to guess what will happen in the last three minutes!