Jos.Rock This new DVD was in a bargain bin for 50 cents, and is likely only available (in a poor transfer with bad sound) because it provides an vehicle for a very young James Mason. It has the feel of a movie that would have been given to promising young director, along with a trifling budget and an unrealistic shooting schedule. Props seem to have been borrowed from earlier films, much of it is shot on the back lot, and most was probably the first take. The script was a bit too bookish and wasn't revised as needed; consequently the plot turns heavily on some rather minor points that are not given the necessary emphasis, result being that it takes close attention to figure out that the plot actually does make sense and the story is, in principle, quite promising, although weak direction and acting beat it down, with the editor delivering the coup de grace. Yet in these many flaws lies the film's strength: you can see all of the ways in which this is an amateurish production, and in so doing, you can see what they should have done to get it right. In other words, this film tells you a lot about how to make pictures right by showing you how to make them wrong. It shows you a journeyman's picture out of the heyday of the studio era, and in that sense is historically interesting; and finally, if you see the struggles of cast and crew objectively, you can sympathize with them; they started off with a decent script and good intentions, but were defeated by inexperience, limited resources and too little time. Thus this film works, accidentally, as a movie about making movies.

oscar-35 I was able to see this 1937 film. It is on VHS from 'GoodTimes Home Video'. This film was from the Lewis Robinson's novel 'The General Goes too Far'. This film is a sensitive story of love, friendship and betrayal. Set in Ireland and moved to British East Africa. It is story of a man's forbidden love for a married beautiful woman of a army colleague. A British Army general officer weaves a yarn of tangled lies when he covers up a murder and continues to pursue a forbidden women. The film's final scenes on trial and suicide are most memorable with a watchable with James Mason acting his role very well. Lionel Atwill stars with Lucy Mannhiem. Directed by Thorald Dickinson.

John Seal The High Command is a static and turgid mess that hints at great promise but never delivers the goods. Lionel Atwill stars as a British army officer who has a dirty secret: before being stationed in West Africa, he murdered a man in Ireland and blamed the death on the Irish Republican Army. Atwill is fine, but the rest of the cast is lacking--particularly a restrained James Mason, who looks uncomfortable underneath an assortment of false moustaches. Director Thorold Dickinson gives it the old college try, and his set-ups reflect the influence of Soviet social realism, the British documentary movement of the period, and even a hint of Hitchcock. Sadly, The High Command's talky story is completely uninvolving and Dickinson's visual flair is held in check as the film trudges to a mind-numbingly dull courtroom conclusion.

rsoonsa Based upon a novel by Lewis Robinson, who assists with the script, HIGH COMMAND gives us a complex tale of blackmail, murder, and other delights, ranging over two continents and two generations, beginning in 1921 Ireland and concluding in West Africa (most of the film was shot in Nigeria and Gold Coast). General Sir John Sangye (Lionel Atwill), holder of the Victoria Cross and commander of a colonial garrison, in order to help protect his daughter Belinda (Kathleen Gibson) from unsavoury scandal, is forced into making several wrenching decisions, with Atwill giving the finest crafted performance of his career. In his first effort at directing a feature film, Thorold Dickinson displays the fluid work with a camera which marks his distinguished career, and has expertly taken a balance of drama and humour from the script while effectively leading his talented cast into strong performances, notably from Steven Geray, Leslie Perrins, James Mason and Lucie Mannheim. Dickinson, along with cinematographer Otto Heller, benefit from their background in silent cinema, and Ernest Irving's score is adroitly woven into the action, all of which assists in effectuating a masterwork.