This film demonstrates that if a cinematic work obeys the rules of good, simple lucid storytelling, it can hold up for a very long time indeed.
Here is my synopsis of this wonderful film--certainly an instance where a great book (by James Hilton, who also did "A High Wind in Jamaica" and "Lost Horizon", two novels which also benefited by excellent screenplays) translates well to the big screen. The character of Chipping is well worth exploration--one of cinema's most memorable figures. In this synopsis I want to mainly touch on the personality of Chipping--and why his story makes such an impression on the viewer. Its a case of a character being well-drawn enough to strike a spark of recognition in us--we all know someone like Chipping.
First of all, Chipping is a person who doesnt think too much of himself. Outwardly, he is completely unremarkable. As a young man he has no prospects. He is wayward and drifting, and all on his own. He has no family to speak of. He seems to come from nowhere and also seems to be going nowhere. He is not a "mover or a shaker". He is a meek little mouse of a man that registers on no one. He is quiet and shy. He is on the reserved, traditional side, conservative in speech, dress, deportment, and character. He is also bookish and myopic--neither charismatic in looks nor athletic in limb (at odds in an age filled with charismatic, athletic specimens).
"Chips" hardly is a type to "stand out in a crowd" and he knows it. This makes him not a "joiner". He has few associations, and his friendships are not very deep. Chips "keeps himself to himself". He loves frequently, for example, but the objects of his affection are never aware of it. He is one of those loner types, who feel the urge to try to fit in but find that they are not really suited to fit in anywhere. He is one of those people who have worlds inside of them that no one ever sees.
Whatever noble qualities he has are all hidden and on the inside of the man, rather than on the outside. Chips is the epitome of the socially awkward, introspective, backward individual. When the story begins, we may surmise that, even though a young man in his early twenties, he has proably never yet been with a woman. Where would he have had the chance?
In any case, Chips is taken on as an instructor at an English boarding school in the middle 19th century. The heyday of the English boarding school. This, the start of "his position" in life, is certainly one important aspect of his life and of this story.
But the real "hook" of the narrative, the most important personal event in his existence, begins as an incident that happens shortly after he is settled into his teaching career. One holiday he accepts an invitation to go cycling in the Alps with a colleague. On a solitary hike into the mountains, he encounters a fellow English tourist--a woman--on her own.
She is an extraordinary woman--an outgoing, experienced, cosmopolitan, charismatic, beautiful, graceful, clever, engaging --a truly marvellous woman. But she is a woman that is usually "already taken". A woman that, at her age, is usually found on the arm of a captain of industry, or an actor, or a politician. A woman of substance and import. A woman that can get any man she would want.
Why is she single? Coincidentally, just as Chips is an oddity in his gender, she is an oddity to hers. She isnt empty-headed, for one thing, although she is very beautiful. She has standards. Although she has been courted incessantly by men from a very early age she is holding out until she meets a man that has inside him, the values and ideals that she prizes. And she happens to be wise enough and sharp-eyed enough and insightful enough to spy the admirable interior qualities of Chips. She sees that he is loyal and devoted and true of heart.
So, from this chance meeting, a romance develops. Chips, of course, is truly astonished. But it becomes a fact. The two actually do marry. The woman does not want a politician, an actor, or a captain of industry--she wants him. She is the only other living being who comes close enough to see him at all--really see him. This is the very happiest time Chips ever has in his whole existence. He comes alive. He is out of his shell. From that point on, he does a lot of things that he would never have dreamed of doing previously. Its because he is no longer alone.
The two have maybe two or three years of life together--until, one day, the woman takes ill from some reason or other and, unaccountably, dies at a young age. Chips has to spend the rest of his life in love with something that is no longer real. His memories are real, to him, but he never again lives in the way that he did when he enjoyed her company.
He will remain at the school for a good many years--in fact, he will live his life there and die there. The remainder of the story, and the movie, is about how this meek soul actually manages to eke out a very passable life for himself, to obtain some measure of happiness despite his humble beginnings and the sadness of his early tragedy.
Chips actually manages to have a life that despite all obstacles, exerts a positive effect on a great many other people. We see him able to live to a very great age, despite many years of loneliness, despite many hardships and trials. Over time, his inner qualities prove him to be seen by many people as a worthwhile person. Completely by accident.
In fact, he winds up to be the most-loved member of the school's faculty. The satisfaction arising from this fact may be the only solace that Chips attains, but to him its enough. He never forgets the woman. But, the story seems to say, he seems to be able to find . . . compensation.
"Goodbye Mr. Chips" is a movie that deals surely and confidently with the most integral and basic, human-scale events: yearnings and disappointments, dreams, the play of randomness in life, the strength of memory, and the effect of time on the soul. To the hip, or the unimaginative "modern" viewer this work will surely seem dated, mawkish, and flat; its just not got the zing, pizazz, or hype that pervades more contemorary flicks. Instead, this film is here for the long haul. The way I feel about it is, if films cant encompass the above-mentioned topics without earning a sour smirk these days from a trendy hipster, then what should our films be about?
I know, I know. You dont have to tell me. Car chases, breasts, and explosions. See you later.
Here is my synopsis of this wonderful film--certainly an instance where a great book (by James Hilton, who also did "A High Wind in Jamaica" and "Lost Horizon", two novels which also benefited by excellent screenplays) translates well to the big screen. The character of Chipping is well worth exploration--one of cinema's most memorable figures. In this synopsis I want to mainly touch on the personality of Chipping--and why his story makes such an impression on the viewer. Its a case of a character being well-drawn enough to strike a spark of recognition in us--we all know someone like Chipping.
First of all, Chipping is a person who doesnt think too much of himself. Outwardly, he is completely unremarkable. As a young man he has no prospects. He is wayward and drifting, and all on his own. He has no family to speak of. He seems to come from nowhere and also seems to be going nowhere. He is not a "mover or a shaker". He is a meek little mouse of a man that registers on no one. He is quiet and shy. He is on the reserved, traditional side, conservative in speech, dress, deportment, and character. He is also bookish and myopic--neither charismatic in looks nor athletic in limb (at odds in an age filled with charismatic, athletic specimens).
"Chips" hardly is a type to "stand out in a crowd" and he knows it. This makes him not a "joiner". He has few associations, and his friendships are not very deep. Chips "keeps himself to himself". He loves frequently, for example, but the objects of his affection are never aware of it. He is one of those loner types, who feel the urge to try to fit in but find that they are not really suited to fit in anywhere. He is one of those people who have worlds inside of them that no one ever sees.
Whatever noble qualities he has are all hidden and on the inside of the man, rather than on the outside. Chips is the epitome of the socially awkward, introspective, backward individual. When the story begins, we may surmise that, even though a young man in his early twenties, he has proably never yet been with a woman. Where would he have had the chance?
In any case, Chips is taken on as an instructor at an English boarding school in the middle 19th century. The heyday of the English boarding school. This, the start of "his position" in life, is certainly one important aspect of his life and of this story.
But the real "hook" of the narrative, the most important personal event in his existence, begins as an incident that happens shortly after he is settled into his teaching career. One holiday he accepts an invitation to go cycling in the Alps with a colleague. On a solitary hike into the mountains, he encounters a fellow English tourist--a woman--on her own.
She is an extraordinary woman--an outgoing, experienced, cosmopolitan, charismatic, beautiful, graceful, clever, engaging --a truly marvellous woman. But she is a woman that is usually "already taken". A woman that, at her age, is usually found on the arm of a captain of industry, or an actor, or a politician. A woman of substance and import. A woman that can get any man she would want.
Why is she single? Coincidentally, just as Chips is an oddity in his gender, she is an oddity to hers. She isnt empty-headed, for one thing, although she is very beautiful. She has standards. Although she has been courted incessantly by men from a very early age she is holding out until she meets a man that has inside him, the values and ideals that she prizes. And she happens to be wise enough and sharp-eyed enough and insightful enough to spy the admirable interior qualities of Chips. She sees that he is loyal and devoted and true of heart.
So, from this chance meeting, a romance develops. Chips, of course, is truly astonished. But it becomes a fact. The two actually do marry. The woman does not want a politician, an actor, or a captain of industry--she wants him. She is the only other living being who comes close enough to see him at all--really see him. This is the very happiest time Chips ever has in his whole existence. He comes alive. He is out of his shell. From that point on, he does a lot of things that he would never have dreamed of doing previously. Its because he is no longer alone.
The two have maybe two or three years of life together--until, one day, the woman takes ill from some reason or other and, unaccountably, dies at a young age. Chips has to spend the rest of his life in love with something that is no longer real. His memories are real, to him, but he never again lives in the way that he did when he enjoyed her company.
He will remain at the school for a good many years--in fact, he will live his life there and die there. The remainder of the story, and the movie, is about how this meek soul actually manages to eke out a very passable life for himself, to obtain some measure of happiness despite his humble beginnings and the sadness of his early tragedy.
Chips actually manages to have a life that despite all obstacles, exerts a positive effect on a great many other people. We see him able to live to a very great age, despite many years of loneliness, despite many hardships and trials. Over time, his inner qualities prove him to be seen by many people as a worthwhile person. Completely by accident.
In fact, he winds up to be the most-loved member of the school's faculty. The satisfaction arising from this fact may be the only solace that Chips attains, but to him its enough. He never forgets the woman. But, the story seems to say, he seems to be able to find . . . compensation.
"Goodbye Mr. Chips" is a movie that deals surely and confidently with the most integral and basic, human-scale events: yearnings and disappointments, dreams, the play of randomness in life, the strength of memory, and the effect of time on the soul. To the hip, or the unimaginative "modern" viewer this work will surely seem dated, mawkish, and flat; its just not got the zing, pizazz, or hype that pervades more contemorary flicks. Instead, this film is here for the long haul. The way I feel about it is, if films cant encompass the above-mentioned topics without earning a sour smirk these days from a trendy hipster, then what should our films be about?
I know, I know. You dont have to tell me. Car chases, breasts, and explosions. See you later.