Lease of Life

Few contemporary films address religion with any sense of the nuances inherent in a belief in the supernatural. This film does so, and does so in ways so lovely that when it comes to its rather abrupt ending you're left saying "Wow...that was really interesting."

Donat plays the classic English parson, a role unchanged since Trollope, poor, scrimping, of moderate talents but immense goodness. When forced to face his own mortality, he becomes happier than ever before, since he can act with his beliefs out there for all to see.

The film also addresses the very common idea that a life of religion is one of rules alone, and demolishes it brusquely. The religious life is not one of rules but one of freedom. Freedom from many things, but freedom to do others. It is compellingly summarized in his brief but heartfelt sermon that is eagerly misinterpreted by the masses. But it is the message Jesus offered 2000 years ago. If you believe, and act on that belief, rules no longer are important. That is the ultimate freedom, and why Donat can be so happy while under a death sentence.

Fine film, understated yet potent.

The story's so simple and so human. It's one of no events whatsoever but it grips from the start. This is one of four on an Ealing Rarities collection, Vol 11, and it's worth the cost for this alone. I'd just finished being bored to tears by Avengers Assemble (I'd not seen that in the cinema) and then decided to put this on. Donat's never been better. The script, By Eric Ambler, is beautifully structured. It's also a fast film, it never lags, because every scene is useful and does real work. It's impassioned as well. Don't miss this one. In colour. And you can see the location, Lund in Yorkshire, hasn't changed that much. The pub's still there as is the church.

The very frailty of Robert Donat who suffered from asthma his entire life was never more in evidence than in Lease Of Life. In this film Donat plays a country vicar as if Mr. Chips had decided to take up the ministry.

The very title of the film says in no uncertain terms we do not own life itself. It's something we're granted a lease on and it's up to us to try and do as much as we can for ourselves, our families, and for the whole of life itself.

Donat knows something that no one else does that his lease on his capacity to breathe may get terminated very soon. What he's determined to do is make his life count in every conceivable way. With an invitation to speak at an Eton like prep school's graduation he gets such an opportunity and a bit of notoriety as well.

Domestically Donat's major problem is putting together enough money for his daughter Adrienne Corri's musical education. She's a piano prodigy, but the living that a country parson has might not be sufficient to pay her way. That leads wife Kay Walsh to do something very stupid out of her concern.

Lease Of Life is a gentle film about the life of an Anglican parson in a country village. No frills, no outrageous characters as one normally gets in an Ealing film. The people are quite real with all the strengths, foibles, and weaknesses we all have.

Most of all it has Robert Donat and given that his health limited his film work the chance to see him at all should never be missed.

Lease of Life is an ironic title as this was the second to last movie made by its star, Robert Donat.

He plays the Reverend William Thorne, a vicar in a small Yorkshire village.

He and his wife Vera live a modest lifestyle on a vicar's salary. Their daughter Susan is a gifted pianist who is on the verge of a place at a music school in London. If she obtains a scholarship, her tuition fees will be paid but her parents will need to pay for her accomodation and they cannot afford it.

Suddenly Reverend Thorne falls ill and is told by the doctor that he has a year to live at the most.

Now looking at life differently. He gives a sermon at a cathedral which is different from his original intentions. It causes both consternation and praise as the Reverend wants people to disobeying rule and enjoying life a bit more.

He even makes the press headlines. In fact his wife Vera gets the wrong end of that sermon. As she borrows £100 that was given to the reverend on trust by a dying parishioner.

Donat is excellent. This is just a small scale soapy melodrama though. Not that exciting and the script needed much more work.

A cruelly ironic title, since Robert Donat - still only in his forties but looking sixty - is visibly dying, thus reinforcing - in Charles Barr's words - the "moving kind of bleakness" of this Ealing cross between 'Le Corbeau' and 'Diary of a Country Priest'.

With a suitably melancholy score by Alan Rawsthorne; through the camera of Douglas Slocombe, Ealing's first production in the new marvel of 'Eastman Colour' (sic) handsomely creates on location in Lincolnshire the deceptively pretty little parish of Gilchester (as well as vividly displaying a young Adrienne Corri's Titian mane as Donat's vibrant young daughter), which beneath it's picturesque facade throbs with intrigue and venality; it's poisonous passions ignited by Donat's unguarded sermon addressed to his flock.