the magical unicorn
by Douglas Messerli
Wolf Mankowitz (screenplay, based on
his novel), Carol Reed (director) A Kid
for Two Farthings / 1955
Kandinsky, speaking metaphorically of survivors (with a heavy reference
to the survivors of the Holocaust) inspires the young, easily believing child,
with visions of unicorns, whom he declares have died off because of abuse, with
just a few surviving—of course, given his father’s travels, existing still in
Africa.
The gullible child, after his latest
chick dies, goes on search in this writhing market for a unicorn, finding it in
a one horned, scrawny goat, which he buys for a few farthings, bringing it home
after a series of adventures, to find that, in fact, the poor animal can indeed
create miracles. After four years of a potential relationship, Joe does finally
buy a ring for his lover, Sonia. And to pay for it, despite his “body beautiful,”
“male physique” commitment, he determines he will participate in a series of
fake wrestling meets. The only problem is that this Adonis, despite his lovely
muscles, is not a successful wrestler, nor a born killer, as is his would-be
competitor, the ugly Python (Primo Carnera). Like a British version of Anthony
Quinn, Camera is a tough, who probably could easily destroy the pretty boy Joe,
who wins his round with the Python by fighting a fixed fight with before his
scheduled grudge battle.
Meanwhile, the lovely goat/unicorn seems to produce other wonders,
actually conjuring up a real Patent Pants Presser for the elderly Kandinsky and
other wonders. Perhaps this miracle unicorn is actually a wonder; but clearly
it is Joe’s own belief in the world which accomplishes such amazing changes.
Kandinsky makes a deal with Sonia that, if he wins the match, he will make him
partner in his business if the fiancée is willing to give up her dream of a
diamond ring and a new bedset she’s purchased on time; and, of course, against
all odds, Joe wins the wrestling match with the Python, and she is perfectly
ready to make the new commitment, which brings the electric pant presser to his
door.
Even if it’s not quite believable, how could you dislike a movie such as
this gorgeously-framed color film? It reminds me a bit of Frank Capra’s remake
of his beloved Christmas tale, Pocketful
of Miracles, but here the miracles seem real: the magical goat dies, and
the always passing Rabbi, with his own horn in hand (a gramophone that plays
music), passes at the very moment that the totally caring Kandinsky secretly
buries the boy’s pet. It’s not really magic, novelist and screenwriter Wolf
Mankowitz makes clear, but it’s as close in this world as you can come to it.
And if that makes anyone tear up about the possibilities of the whimsical, so
much the better. Maybe we can truly also hope for his father’s return home—but
that’s another movie. There are enough miracles in this film that I can’t even
wish for more.
Los Angles, December 21, 2016
Reprinted from World Cinema Review (December 2016).
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