Review: ‘The Seventh Veil’

Title refers to the screen every human uses to hurdle his innermost thoughts. Like Salome, ordinary people will remove one or two - or more veils for the benefit of friends, sweethearts, spouses. But unlike Salome, nobody ever sheds the seventh veil. How Ann Todd is made to do this is the backbone of the pic - and its achievement is filmed magnificently.

Title refers to the screen every human uses to hurdle his innermost thoughts. Like Salome, ordinary people will remove one or two – or more veils for the benefit of friends, sweethearts, spouses. But unlike Salome, nobody ever sheds the seventh veil. How Ann Todd is made to do this is the backbone of the pic – and its achievement is filmed magnificently.

Apart from the engrossing story (of the merciless discipline to which a teenage, sensitive orphan is subjected by a grim bachelor guardian) as it surges swiftly to its tremendous climax, there is a feast of harmony by the London Symphony Orchestra, conducted by Muir Mathieson, accompanying an unidentified piano virtuoso [Eileen Joyce] – ostensibly Todd.

1946: Best Original Screenplay

The Seventh Veil

UK

Production

Sydney Box/Ortus. Director Compton Bennett; Producer Sydney Box; Screenplay Muriel Box, Sydney Box; Camera Reginald Wyer, Bert Mason; Editor Gordon Hales; Music Benjamin Frankel; Art Director Jim Carter

Crew

(B&W) Available on VHS, DVD. Extract of a review from 1945. Running time: 94 MIN.

With

James Mason Ann Todd Herbert Lom Albert Lieven Hugh McDermott
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