1:04:04
Vernon Sewell had knocked around
doing many jobs in the film industry
1:04:09
and he was also quite a sailor.
1:04:12
He went on to make a film
1:04:14
which Powell produced, now working
with Pressburger: The Silver Fleet.
1:04:19
Then he had a later career directing
some remarkable Gothic horror movies
1:04:24
with titles like
The Blood Beast Terror
1:04:27
and Curse Of The Crimson Altar.
1:04:31
As Powell makes clear in his book,
without Sewell's commitment
1:04:35
and the sense of improvisation and
fun, just pulling together as a team,
1:04:39
this film would never have been made,
given the odds stacked against it.
1:04:44
What we see here,
1:04:45
in the evacuation scenes,
1:04:47
are some of the logistical problems
that the film's makers faced
1:04:51
when they were actually shooting.
1:04:58
(Dialogue) James, man,
I'm away up the Kame.
1:05:01
One of they daft collectors offered
me five pounds for a guillemot's egg.
1:05:08
I know just where it is.
1:05:15
(Christie) As we move
into the final sequence,
1:05:19
we're moving back into melodrama,
1:05:21
because the figure of Peter Manson,
who has lost his son,
1:05:25
is not a figure who is going to
move into the future.
1:05:28
He belongs too much to the island.
1:05:32
He opposed his son's wish to leave
1:05:35
and now he's going to
make a gesture
1:05:37
which will lead to his own death.
1:05:40
He claims that he's going to go
and find an egg
1:05:43
because one of the economic features
of island life
1:05:47
was that islanders
were often commissioned
1:05:50
to find rare eggs for egg collectors
1:05:53
and he thinks he should
make some money before he leaves.
1:05:57
But the larger movement of the film,