The Set-Up: File this under #MeToo.If "pro" is the opposite of "con" then what is the opposite of "progress?"
Why, "Success," of course! Because nothing exceeds like successful companies trying to maintain that success. "By any means necessary." Now, to hear some say it, that's because they're "job-creators" and the more money they have, the more employment opportunities they'll provide or the more research they'll do, the more innovation they'll reach. That's the theory, anyway. The one they teach in the class-rooms, and the one they spin in the board-rooms. But, in the real world of business, money gets channeled to off-shore accounts, and gets spent on lawyers and lobbyists to manage the market-place to their advantage, or to buy out competitors, or to suppress innovation that'll put them out of business. They learned the lessons of the buggy-whip manufacturers. They saw it on a video-cassette on their Betamax's.
The Ealing Studio comedy The Man in the White Suit casts a jaundiced eye on the "Onward Towards Tomorrow" empty promises that Industry likes to spout, when a chemist comes up with a synthetic thread that is indestructible, stain-resistant and will eliminate the need to ever buy a new suit again, which throws the textile mills into such a tizzy that they go all-out to suppress it—and before you conservative snowflakes get in a wad, the film has the trade unions trying to suppress it, too. "Fair and Balanced." (and realistic, for once).
But, this scene doesn't have anything to do with that. No, this scene is about power and its abuse, another skirmish we're losing in the Industrial Revolution. It's the one where the ones in power think they can roll over you just because you don't have any power. And that one goes right down to the alligator brain when it comes to "The War Between the Sexes."
Captains of Industry, all, Cranford (Howard Marion-Crawford), Alan Birnely (Cecil Parker), Michael Corland (Michael Gough, the once and future Alfred), have been joined by Chairman Sir John Kierlaw (Ernest Thesiger, the once Dr. Pretorius) to figure their way out of this mess when money can't solve the problem with an idealist. And being gentlemen, they decide to whore out Birnley's daughter Daphne (Joan Greenwood), after distracting Birnley Sr. with an opportune phone-call. It's doubly shameful that the guy who comes up with the idea is Daphne's fiance, Michael.
Greenwood's playing of this scene is wondrous. An ally of Stratton's, she sees the manipulation of these scared little men, and, while, initially, rather threatened—McKendrick shoots it with a high overhead shot that surrounds her with duplicity—she remains very much in control enough to shoot daggers at Michael and then to soak the blighters for as much as she can, shaming them while she does it. Those she can shame. Those who have feelings. Those who have a conscience. Or a soul.
She'll then barge out of the room without a word to her ineffectual father—at this point she doesn't even care if he'd go along with the plot or not, in what can only be called a "high dudgeon." She'll carry out their wishes, but not in the way they want, and will test Stratton for having more than a spine than the industrialists. Certainly to see if his spine is as straight and as forthright as hers.
I'll bet she never got paid that £5,000.
What was I saying about progress?
Oh, yes. #MeToo.
The Story: The eccentric inventor Sidney Stratton (Alec Guinness) is working at his latest of menial jobs, this time at Birnley Mills, where his freelance endeavors to create an everlasting thread have finally paid off...somewhat explosively. Initially hailed for his invention that will revolutionize the industry, the Burnley management and trade unions realize that such a cloth that repels soils and stains and never needs to be replaced...will be bad for business. A boon to mankind, but a bust for the bottom line. So, they attempt to buy Stratton's invention in order to suppress such a financially disastrous innovation. But, an offer of £250,000 does not dissuade Stratton, who has an idealist's principles. So, they lock him away against his stubborn will, while they decide what next to do with disaster looming for their looms.
Action!
BIRNLEY Well, you should know! You started the first one!
CRANFORD Alright, put him on!
MICHAEL You should stop...
SIR JOHN Gentlemen!
DAPHNE His door's locked. The key's gone.
KNUDSON I have it, Miss Birnley…
CRANFORD Yes, yes, put him on, will you?
BIRNLEY W-Will you...will you please...
BIRNLEY This is an important business meeting here...
DAPHNE We're very good friends. Why not?
BIRNLEY (No no...I cannot...)
DAPHNE I'm...beginning to...
MICHAEL Daphne!
MICHAEL (At the same time) Daphne, I…
DAPHNE Agreed.
The Man in the White Suit
Words by Roger MacDougall, John Dighton, and Alexander Mackendrick
Pictures by Douglas Slocombe and Alexander Mackendrick
The Man in the White Suit is available on DVD and Blu-Ray by Anchor Bay Home Video.
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