Gilbert Keith Chesterton has never been ignored or forgotten since his death in 1936. Yet his contemporary, Rudyard Kipling, was as controversial as he was and is better remembered and read to this day. I am not sure if the reason is that Chesterton's twin attractions, his love of paradox (almost to a questionable mania) and his vigorous championing of Catholicism are the reasons for this. He is, in the latter aspect, a strong predecessor of Evelyn Waugh and Graham Greene, but both of those writers seem to have more of a readership today. But then they didn't adopt paradox.
In his novel "Manalive" there is a moment when the appeal of his paradox reaches a point that is both understandable and questionable. The hero explains that the phrase "All that glitters is not gold" is false - all that glitters is gold. He starts pontificating on how many rarer elements (platinum?) exist that don't glitter as much, so that it is the attraction of the glitter of gold that makes it matter. One reads this discussion hoping that Chesterton is pulling our leg (a hope I still have, but it is very faint). The point of the phrase is that there are more valuable things in the universe than wealth producing items like gold - things like kindness, generosity, love. If Mr. C. was fooling us, I congratulate him on the still hit-on-the-head blow of the paradox. But if he meant it I really pity him.
I leave it to his fans to explain it to me (if they wish). "The Detective" is one of the few movies based on Chesterton's huge output. It is based on the first story of his tales of the Roman Catholic priest and detective, Father Brown: "The Blue Cross". The story is a good one (the first of the first series of "Father Brown" tales), and introduces us to Flambeau, the master thief that Brown eventually saves. But for it to be done properly (not the way the movie quite does it) several of the stories have to be put together. The first three stories of the series deal with Brown, Flambeau, and the head of the Paris police. The last commits a murder in the second story, and commits suicide before Brown exposes him. So much for a guardian of the law. Flambeau is stopped by Brown reasoning with him that he is not a bad man but a man who is on the verge of becoming one if he lets an innocent man take the blame for a theft he committed. Flambeau does repent, and subsequently becomes a detective (and an assistant to Brown).
This is a film which could have been reduced in length. Parts of the movie are quite amusing (the scene of Ernst Theisinger and Guiness breaking each other's eyeglasses is cute). The acting is also good (especially Guiness and Peter Finch as Flambeau). But the moments that move the viewer (and approach Chesterton's Catholicism) are when Guiness gives parables to explain behavior and human weakness. Witness his tale of the bad woman who fails to get pulled out of hell.
I wish the film was not so dull in so many spots, but it is definitely worth a look.
In his novel "Manalive" there is a moment when the appeal of his paradox reaches a point that is both understandable and questionable. The hero explains that the phrase "All that glitters is not gold" is false - all that glitters is gold. He starts pontificating on how many rarer elements (platinum?) exist that don't glitter as much, so that it is the attraction of the glitter of gold that makes it matter. One reads this discussion hoping that Chesterton is pulling our leg (a hope I still have, but it is very faint). The point of the phrase is that there are more valuable things in the universe than wealth producing items like gold - things like kindness, generosity, love. If Mr. C. was fooling us, I congratulate him on the still hit-on-the-head blow of the paradox. But if he meant it I really pity him.
I leave it to his fans to explain it to me (if they wish). "The Detective" is one of the few movies based on Chesterton's huge output. It is based on the first story of his tales of the Roman Catholic priest and detective, Father Brown: "The Blue Cross". The story is a good one (the first of the first series of "Father Brown" tales), and introduces us to Flambeau, the master thief that Brown eventually saves. But for it to be done properly (not the way the movie quite does it) several of the stories have to be put together. The first three stories of the series deal with Brown, Flambeau, and the head of the Paris police. The last commits a murder in the second story, and commits suicide before Brown exposes him. So much for a guardian of the law. Flambeau is stopped by Brown reasoning with him that he is not a bad man but a man who is on the verge of becoming one if he lets an innocent man take the blame for a theft he committed. Flambeau does repent, and subsequently becomes a detective (and an assistant to Brown).
This is a film which could have been reduced in length. Parts of the movie are quite amusing (the scene of Ernst Theisinger and Guiness breaking each other's eyeglasses is cute). The acting is also good (especially Guiness and Peter Finch as Flambeau). But the moments that move the viewer (and approach Chesterton's Catholicism) are when Guiness gives parables to explain behavior and human weakness. Witness his tale of the bad woman who fails to get pulled out of hell.
I wish the film was not so dull in so many spots, but it is definitely worth a look.