Based on the sentimental novel by James Hilton, Herbert Ross’ Goodbye, Mr. Chips (1969) is an utterly faithless adaptation and thoroughly stultifying musical. This was MGM’s second trip to the well for inspiration. In 1939, the British apparatus of MGM had released a magnificent screen melodrama starring Robert Donat as the lonely Latin school master, with newcomer Greer Garson as his exceptionally tender and charming wife, Katherine.It was a colossal intercontinental hit, earning rave reviews from the critics and Donat the Oscar as Best Actor, above such contenders as Mickey Rooney, Spencer Tracy and Clark Gable’s performance in Gone With The Wind.
However, in the mid-1950s MGMfound it fashionable to turn many of their early comedies and melodramas from the ‘30s and ‘40s into musicals. Some were extremely successful. For example: The Philadelphia Story (1940) became High Society (1956) and Ninotchka (1939), Silk Stockings (1957). Unfortunately, by the mid-60s this cycle had expired. A pity that no one at MGM took notice of this.
Undaunted by changing public taste, as well as a growing aversion to musicals in general, and in dire need of a major hit to fill their ailing coffers, MGM once again banked on Goodbye Mr. Chips to set cash registers ringing around the world. It was not to be. For the melding of the original story’s more poignant moments with a mélange of large scale musical numbers proved an insurmountable balancing act for director Herbert Ross; particularly since most of the songs by Leslie Bricusse were barely memorable and, in many cases, well below par.
Terrance Ratigan’s screenplay found it necessary to severely juggle the events of the novel and the earlier film, inexplicably updating the story’s setting from WWI to WWII and expanding the role of Katherine (who dies early in both the book and in the 1939 film during childbirth) to suit the talents of recording sensation, Petula Clark. Oswald Morris’ heavily diffused cinematography and Ralph Kemplen’s heavy handed editing (which frequently fell back on zooming in or out of crane and aerial helicopter shots) made mince meat of the love scenes – some shot in such extreme close up that they cut both the top and bottom off the principles’ heads.
Worse, where Donat’s ‘Chips’ had been a sympathetic introvert, momentarily liberated by the love of his life, Peter O’Toole’s take on Arthur Chipping proved a strange mix of frenetic awkwardness and restrained tolerance for both his wife and his profession. Clark outshines the rest of the cast, although her role is not entirely without its flaws either.
As the story unfolds in this revamp, Chips (Peter O’Toole) is already a craggy, middle aged school master who openly admits that his pupils despise him for his crusty, though benign primness and propriety. When it comes to academics, learning is more important than sports – a view that comes in direct conflict with Lord Sutterwick (George Baker); an imminent contributor to Brookfield’s private school fund.
A colleague, William Baxter is none too keen on Chips’ formalities either, though Max Staefel (Michael Bryant) – a German born professor - defends his friend from these naysayer pundits. Chips’ luck, however, is about to change for the better.
Invited by fellow academic, Johnny Longbridge (Michael Culver) for a night at the theater, Chips is introduced to the star of the show, Katherine Bridges (Petula Clark) by Johnny, who erroneously assumes that Katherine may one day choose to marry him. Instead, Katherine takes a somewhat immediate fancy to Chips, whose years as an isolated bachelor make their first meeting a thoroughly awkward one. From here the screenplay incongruously cuts to Chips on his walking tour of Pompeii. And, although she would have no way of learning Chips whereabouts, inexplicably Katherine turns up at the same ancient ruins.
Through a badly photographed and thoroughly chopped up montage, Chips and Katherine are seen touring the rest of the city, at the end of which Katherine proposes that they make love. Taken aback by her forwardness, Chips retracts into his shell. However, once back at Brookfield he accepts an invitation from Katherine to attend a party at her house where he is introduced to the garish flapper/boar – Ursula Mossbank (Sian Phillips).
In a scene desperately struggling for something to say, Ursula mistakes Chips for an actor. Johnny learns that Katherine fancies Chips and magnanimously bows out. Chips proposes marriage and Katherine accepts.
Returning to Brookfield, Chips learns that Lord Sutterwick has begun to spread rumors of Katherine’s spurious romantic past about the campus. Sutterwick also threatens to pull his financial support from the school unless Chips loses his job. Katherine flees the school in humiliation with Chips in hot pursuit. The two return to Brookfield with Ursula in tow where we learn that Sutterwick and Ursula used to be lovers. This revelation forces Sutterwick to withdraw his request for Chips dismissal.
However, when Brookfield’s Headmaster (Michael Redgrave) announces his retirement and names Chips as his successor, the school’s Board of Directors instead snubs the nomination in favor of William Baxter (Jack Hedley). Naturally, Chips is bitterly disappointed.
As WWII arrives on England’s doorstep, Chips is dealt another blow when Max announces that he is being recalled to Germany at the behest of Adolph Hitler. War breaks out and Katherine is killed in a bombing raid on the eve that Chips learns he is to be made headmaster after all. At war’s end, he retires from the school, and, in the last scene is observed strolling amongst the new arrivals to Brookfield – once more a lonely, isolated man.
I rarely dislike a film outright, much less one made under such a distinguished pedigree. But Goodbye Mr. Chips fails on every level. Although there is some on screen chemistry between O’Toole and Clark it never seems to be enough to get us past the film’s myriad of glaring oversights and misfires. The slap shod cinematography, weak songs and ‘cut and paste’ editing style work against whatever minor joys are to be had. In the final analysis, this Goodbye Mr. Chips is a colossal waste of time.
Warner Home Video’s DVD transfer is well below par for a film from this vintage. The anamorphic widescreen image suffers from color fading, color bleeding and a genuine lack of balanced contrast levels. While some scenes appear remarkably sharp, with a considerably smooth color palette, many others suffer from a very softly focused and blurry image that slightly wobbles.
Age related artifacts are present throughout and occasionally obvious. Black levels are never entirely deep or solid. Whites often take on either a blue or yellow tint. Flesh tones fluctuate between very pasty pink and de-saturated gray/orange. This is a woefully undernourished visual presentation with little to recommend it. The audio has been remixed to 5.1 Dolby Digital, retaining the inherent flaws of vintage recording technologies. Extras are limited to two theatrical trailers; one from the 1939 film, the other from its ‘69 remake. Not recommended!
FILM RATING (out 0f 5 - 5 being the best)
0
VIDEO/AUDIO
2.5
EXTRAS
0
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