Review of Hobson's Choice (1954) by Robben M — 27 Nov 2009

An almost surreal, expressionistic but most definitely witty comedy about one alcoholic jerk, boot shop owner and his eldest defiant daughter who goes to great lengths to liberate herself from a spinster's fate.

Though there is more than one actual Hobson's Choice in HOBSON'S CHOICE, it gets it name from the blustery and mean-spirited father of three daughters who is a drunkard and a selfish lout (a brilliant performance by Charles Laughton). And he too, has to either take it, or leave it. (leaving it being something most undesirable).

His eldest, Maggie, seems to have finally had enough, despite the fact that she essentially supports the family now. Her useless and shallow sisters just want to get married and inherit some of the money (though they'd really just like to get away from father.).

Instead, Maggie sells the boots, makes dinner at one, and makes sure Hobson gets to bed safely after his nightly routine of getting drunk every night.

He may have made boots when he was young, but he's all but washed up. Maggie sees this and is in a rut.

Even though she is the backbone of the business, she is in no mood to be single for the rest of her life, despite her father's belittling comments about her age and hardness. Maggie also happens to be smarter and more clever than everyone else in the movie, and she plans to make it big in the most tactful of ways. In fact, a rich old woman walks in and sternly commends their boots. She gives her card to the bootmaker in the shop, Will, who works in the dank basement.

Initially, she decides her modus operandi will be to utilize Will, a shy simpleton who cannot read or write. She recognizes his talent and figures there may be a way to make a profit. Maggie sees a viable business partnership as well as a way to get out.

Maggie decides right there and then: this will be the man she will marry and nothing can stop her, not even the initially reluctant Will, who eventually discovers that he has more in common with her than they both realize.

She goes to great lengths to snake him into her arms. First by force, then by simply going the whole way (when she discovers he's living with a woman already, she does the nest sensible thing and marches to the lady's house, demanding Will for herself.).

Soon, they start a boot-making shop and what follows is a prolonged build-up to several Hobson's choices, all which benefit Maggie, due to some excellent planning and cunning. In other words, she gets the last laugh. But oh how wonderful that laugh is!

Unfortunately, to say anymore would spoil the effect. Perhaps you should see the movie. Or not.

Perhaps even more amazing is the incredible photographic look of the film, where everything is sharp and textured. The camera sometimes tilts and whips around, giving the film a sort of German Expressionistic look.

There is one scene in particular that stands out, where Hobson, smashed and groggy, decides he will chase after the moon's reflection in puddles. It's a delightfully surreal scene and it ends with an outright pratfall filtered via Dali: a trip down a cellar while the moon watches at the very top.

Even better would have to be when he starts hallucinating, seeing swarms of mosquitoes on the ceiling and giant winking ghost rat, standing at the foot of his bed.

Sometimes the camera does nothing and Lean lets the actors do their thing. Laughton chews up the scenery and despite the character being a total jerk, is a delight to watch.

But the real star is Maggie, who must be the ultimate woman in the history of cinema. Screw Ripley. This is a girl to be reckoned with, and you're immensely lucky to have someone like her at your side.

Invariably, the opportunistic plan made with Will blossoms into true love, but it never feels forced or contrived. Some brilliant writing and battles of wits go a long way.

In the end, the film goes circular, much like the moon and Hobson's fat frame. It's too perfect for words. Everything is placed just right, measured just so, and planned to the point.

It's an elegant film, with not a wasted frame to see.

Either you watch it and agree, or you don't watch it all.