:10:01
between these two
pillars of the community.
:10:03
They're both very interesting actors.
:10:05
Finlay Currie, a much older actor,
who had been on stage,
:10:09
had only started to work in film,
in fact, in the early 1930s.
:10:14
He'd made very few films.
:10:16
He'd appeared in The Good
Companions and Orders Is Orders
:10:20
before he made Edge Of The World.
:10:22
He would go on to have
a very distinguished career
:10:25
in films like Great Expectations.
:10:28
John Laurie was already
a distinguished film actor
:10:32
and had Shakespearean experience
:10:34
and was quite a catch,
as far as Powell was concerned,
:10:38
for this very important part.
:10:40
(Dialogue)
...for ever and ever. Amen.
:10:45
(Christie) As we watch
this church sequence,
:10:48
it's astonishing,
almost impossible,
:10:50
to believe that it was actually shot
in a derelict building
:10:54
which had no roof.
:10:56
(Dialogue) He makes me down to lie.
:11:00
- (Tuning fork hums)
- La, la... la-la.
:11:05
(AII sing) The Lord's my shepherd
:11:11
I'II...
:11:12
(Christie) The actors were
under incredible difficulty.
:11:15
None of this is conveyed
in the church sequence as we see it.
:11:19
Here's how Michael Powell
described it in his book.
:11:23
(Day-Lewis) The high spot of the
southwest location was the church.
:11:27
There were three physical changes
which had to be managed.
:11:30
These were, firstly, the derelict
building in the prologue,
:11:34
with weed-grown yard,
buried gravestones,
:11:37
battered roof and forlorn belfry,
:11:39
and a fragment of frayed rope
where the bell once hung.
:11:43
Secondly, the church in the story,
trim and neat,
:11:46
a path worn by the years
from the gate to the door,
:11:50
the bell clanging
as Gerald pulled the rope
:11:52
and the row of dogs sitting
peacefully by their rail.
:11:57
Finally, the interior of the church,