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* AllGermansAreNazis: Averted! One of the main reasons Churchill disliked the film was the character of Theo, a sympathetic German (though explicitly anti-Nazi). He remained in the story thanks to Powell and Pressburger's [[DoingItForTheArt artistic commitment]]. Anton Walbrook, the actor who plays Theo had ImmigrantPatriotism for England noting the fact that their refusal to indulge in stereotypes was why they were better than UsefulNotes/NaziGermany.
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* AllGermansAreNazis: Averted! One of the main reasons Churchill disliked the film was the character of Theo, a sympathetic German (though explicitly anti-Nazi). He remained in the story thanks to Powell and Pressburger's [[DoingItForTheArt artistic commitment]].commitment. Anton Walbrook, the actor who plays Theo had ImmigrantPatriotism for England noting the fact that their refusal to indulge in stereotypes was why they were better than UsefulNotes/NaziGermany.
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Changed line(s) 32 (click to see context) from:
* CallBack: The memorable last line. When Clive and Barbara come to their house in downtown London, she says it's a fine house on a firm foundation. Then she makes him promise that they'll both stay there and never change, even if there's a Great Flood. Clive jokes that if the floods come they'll have a lake in the basement. 20 years later, at the very end of the movie, Clive goes back to his home, which has been destroyed by bombing. The bomb damage caused the basement to flood. He remembers the exchange with Barbara, looks down into the basement, and says "Well here is the lake--and I still haven't changed."
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* CallBack: The memorable last line. When Clive and Barbara come to their house in downtown London, she says it's a fine house on a firm foundation. Then she makes him promise that they'll both stay there and never change, even if there's a Great Flood. Clive jokes that if the floods come they'll have a lake in the basement. 20 years later, at the very end of the movie, Clive goes back to his home, which has been destroyed by bombing. The bomb damage caused the basement to flood.house's foundations are subsequently turned into an open emergency water tank. He remembers the exchange with Barbara, looks down into the basement, and says "Well here is the lake--and I still haven't changed."
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merged with Acting For Two
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* LoadsAndLoadsOfRoles: Creator/DeborahKerr plays Candy's idol Edith. And she then plays two more women he meets throughout the course of his life - to illustrate how they remind him of Edith.
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* Also Theo: he goes from a loyal German officer with a conscience, who will fight a duel on someone else's behalf even though he doesn't really believe in duelling, through being an embittered [=WW1=] veteran, to being a melancholy emigré who's left Germany because it no longer stands for anything he can support.
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* Also Theo: he goes from a loyal German officer with a conscience, who will fight a duel on someone else's behalf even though he doesn't really believe in duelling, through being an embittered [=WW1=] veteran, to being a melancholy emigré who's left Germany because it no longer stands for anything he can support.
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* AmoralAfrikaner: Downplayed. When Candy departs and leaves Van Zijl behind to interrogate the prisoners, Van Zijl notes that he's South African, not British, and so has no compunctions about seeming like a "gentleman"; he then uses the threat of torture to try to squeeze the information out of them.
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* ObliviousToLove: In 1902 Berlin, Clive completely misses the obvious love signals that Edith is giving off.
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* ObliviousToLove: In 1902 Berlin, Clive completely misses the obvious love signals that Edith is giving off.
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* OfficerAndAGentleman: Deconstructed. As gentlemanly and sporting as Candy is, and how admirable his complete unrelenting morality may be, it's not only unsuited for modern warfare, but his inability to see the necessary side of fighting dirty against great odds makes him counterproductive and naive.
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* ForeignRulingClass: Clive is such a quintessential old English colonialist that he doesn't think his wife passing away in Jamaica counts as dying in a "foreign country".
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* ForeignRulingClass: Clive is such a quintessential old English colonialist that he doesn't think his wife passing away in Jamaica counts as dying in a "foreign country".[[note]]Jamaica wouldn't gain independence and cease to be a British colony until 1962, but even for the time, Candy's perspective is treated as humorously old-fashioned.[[/note]]
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* ForeignRulingClass: Clive is such a quintessential old English colonialist that he doesn't think his wife passing away in Jamaica counts as dying in a "foreign country".
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* SuddenlyBilingual: Played realistically. Theo's English improves dramatically between the times we see him -- from a halting but earnest attempt at the language to eloquent and poetic fluency -- but it's over a period of decades, he learns better English in the POW camp after the war, and he becomes a British ex-pat after the Nazis' rise to power.
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* SuddenlyBilingual: Played realistically. Theo's English improves dramatically between the times we see him -- from a halting but earnest attempt at the language to eloquent and poetic fluency -- but it's over a period of decades, he learns better English in the POW camp after the war, and he becomes has since taken (and buried) an English wife. He even seeks to become a British ex-pat after the Nazis' rise to power.
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* EvilOnlyHasToWinOnce: Theo, in imparting the deadly seriousness of World War II, emphasizes that the Nazis do ''not'' give clemency, mercy or second chances to those they've conquered, and certainly will not to a nation that humiliated it at Versailles like Britain.
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* EvilOnlyHasToWinOnce: Theo, in imparting the deadly seriousness of World War II, emphasizes that the Nazis do ''not'' give clemency, mercy or second chances to those they've conquered, and certainly will not to a nation that humiliated it Germany at Versailles like Britain.
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Changed line(s) 77 (click to see context) from:
* SuddenlyBilingual: Played realistically. Theo's English improves dramatically between the times we see him -- from an halting but earnest attempt to eloquent and poetic fluency -- but it's over a period of decades, he learns better English in the POW camp after the war, and he becomes a British ex-pat after the Nazis' rise to power.
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* SuddenlyBilingual: Played realistically. Theo's English improves dramatically between the times we see him -- from an a halting but earnest attempt at the language to eloquent and poetic fluency -- but it's over a period of decades, he learns better English in the POW camp after the war, and he becomes a British ex-pat after the Nazis' rise to power.
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* SuddenlyBilingual: Played realistically. Theo's English improves dramatically between the times we see him -- from an halting but earnest attempt to eloquent and poetic fluency -- but it's over a period of decades, he learns better English in the POW camp after the war, and he becomes a British ex-pat after the Nazis' rise to power.
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'''Theo:''' Clive! If you let yourself be defeated by them -- just because you are too fair to hit back the same way they hit at you -- there won't be any methods BUT "Nazi methods"! [...] Dear old Clive... this is ''not'' a gentleman's war. This time, you're fighting for your very existence against the most devilish idea ever created by a human brain: Nazism. And if you lose, there won't be a return match next year. Perhaps not even for a hundred years.
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* EndOfAnAge: The film covers forty years and is essentially the story about the end of the British Empire and its regimented class system and the breakdown of society that happened during the Second World War, essentially its about the Old Victorian and Edwardian England becoming 20th Century England.
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* EndOfAnAge: The film covers forty years and is essentially is, essentially, the story about the end of the British Empire and its regimented class system and the breakdown of society that happened during the Second World War, essentially its about War -- in other words, the Old "old" Victorian and Edwardian England becoming 20th Century England.20th-century England.
* EvilOnlyHasToWinOnce: Theo, in imparting the deadly seriousness of World War II, emphasizes that the Nazis do ''not'' give clemency, mercy or second chances to those they've conquered, and certainly will not to a nation that humiliated it at Versailles like Britain.
'''Theo:''' Clive! If you let yourself be defeated by them -- just because you are too fair to hit back the same way they hit at you -- there won't be any methods BUT "Nazi methods"! [...] Dear old Clive... this is ''not'' a gentleman's war. This time, you're fighting for your very existence against the most devilish idea ever created by a human brain: Nazism. And if you lose, there won't be a return match next year. Perhaps not even for a hundred years.
* EvilOnlyHasToWinOnce: Theo, in imparting the deadly seriousness of World War II, emphasizes that the Nazis do ''not'' give clemency, mercy or second chances to those they've conquered, and certainly will not to a nation that humiliated it at Versailles like Britain.
'''Theo:''' Clive! If you let yourself be defeated by them -- just because you are too fair to hit back the same way they hit at you -- there won't be any methods BUT "Nazi methods"! [...] Dear old Clive... this is ''not'' a gentleman's war. This time, you're fighting for your very existence against the most devilish idea ever created by a human brain: Nazism. And if you lose, there won't be a return match next year. Perhaps not even for a hundred years.
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* BeautyBrainsAndBrawn: In a meta-example, the three characters that Deborah Kerr plays. Edith is the Brains, the most intelligent and socially engaged one, who encourages Clive to cause a diplomatic incident because she resents anti-British propaganda; Barbara is the Beauty, the most mild-mannered and sweet-natured one; Angela is the Brawn, a chirpy, direct, uncomplicated [=MTC=] driver who manages to knock out her own boyfriend so that she can escape in time to warn Clive that he's about to be taken prisoner.
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* CharacterDevelopment: Enormously deferred in Clive's case, but it's there. He finally recognises that he needs to change, but can't, and that his dream--that he still might make a major contribution to the war effort other than training the Home Guard--is not going to happen. He accepts this, and cheerfully salutes Spud's men as they march past.
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* NonIndicativeName: The central character is not called Blimp, he never achieves the rank of colonel, and he doesn’t die.
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* NonIndicativeName: The central character is not called Blimp, he never achieves the rank of colonel, and he doesn’t die.[[note]]Although, since in his chronologically earliest scenes he's a Lieutenant, and by the end he's a Major-General, he must have been a colonel at some point.[[/note]]
** Averted on a metaphorical level: Candy was intended as a deconstruction of the "Colonel Blimp" character, who was originally intended to be a satire on useless and incompetent generals, and since Candy recognises that he's not actually much use to the war effort and had better leave it to others, it could be argued that the film does depict the "death" of Colonel Blimp as a phenomenon.
** Averted on a metaphorical level: Candy was intended as a deconstruction of the "Colonel Blimp" character, who was originally intended to be a satire on useless and incompetent generals, and since Candy recognises that he's not actually much use to the war effort and had better leave it to others, it could be argued that the film does depict the "death" of Colonel Blimp as a phenomenon.
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* WorldOfCardboardSpeech: The film's moving final lines...
--> "''Here is the lake...and I still haven't changed.''"
--> "''Here is the lake...and I still haven't changed.''"
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Propaganda Piece is no longer YMMV, but non-propaganda examples are being removed
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* PropagandaPiece: What the Ministry of Information wanted and paid for. They got one, but (as with so many other Powell & Pressburger films) one with subversive implications regarding German culture and the use of immoral methods by the British military.