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* BigFun : Clive Wynne Candy, as played by Roger Livesey is perhaps the embodiment of this trope at its finest.

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* BigFun : BigFun: Clive Wynne Candy, as played by Roger Livesey is perhaps the embodiment of this trope at its finest.



* CompeteForTheMaidensHand: {{Invoked}}. Clive and Theo fight a duel over political issues, but as this could cause problems with their superiors they pretend they're doing it for the honor of a woman they both know.



* DoppelgangerReplacementLoveInterest: Undoubtedly a TropeCodifier.

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* DoppelgangerReplacementLoveInterest: Undoubtedly a TropeCodifier.The whole plot turns on this, although Candy never really realizes it.



* LongSpeechTeaTime

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* LongSpeechTeaTimeInternationalShowdownByProxy: The duel is a fight between a British soldier outraged by German accusations of atrocities in the Boer War, and a German officer selected by lot to fight him.
* LoadsAndLoadsOfRoles: Creator/DeborahKerr plays Candy's idol Edith. And she then plays two more women he meets throughout the course of his life - to illustrate how they remind him of Edith.
* LongSpeechTeaTime:
-->'''Clive Candy''': The Kaiser spoke, and the Prince of Wales spoke —
-->'''Barbara Wynne''': Spoke about what?
-->'''Clive Candy''': Nobody could remember.



* PropagandaPiece: what the Ministry of Information wanted and paid for. They got one, but (as with so many other Powell & Pressburger films) one with subversive implications regarding German culture and the use of immoral methods by the British military.
* RealLifeWritesThePlot : Emeric Pressburger the screenwriter, a Hungarian Jew who lived in Berlin, modeled Theo's speech at the immigration bureau on his own experience entering Britain. The unfortunately-named Austian emigre Adolph Anton Wilhelm Wahlbruecke (stage name Anton Walbrook), who played Theo, likewise exiled himself from Austria when it became a right-wing dictatorship in the '20s. Both had ImmigrantPatriotism for England.
* RedOniBlueOni : Despite being a StiffUpperLip, Candy is a solid Red (all red cheeks and nose) to Theo's Blue, to everyone's blue basically.

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* PropagandaPiece: what the Ministry of Information wanted and paid for. They got one, but (as with so many other Powell & Pressburger films) one with subversive implications regarding German culture and the use of immoral methods by the British military.
* RealLifeWritesThePlot :
RealLifeWritesThePlot: Emeric Pressburger the screenwriter, a Hungarian Jew who lived in Berlin, modeled Theo's speech at the immigration bureau on his own experience entering Britain. The unfortunately-named Austian emigre Adolph Anton Wilhelm Wahlbruecke (stage name Anton Walbrook), who played Theo, likewise exiled himself from Austria when it became a right-wing dictatorship in the '20s. Both had ImmigrantPatriotism for England.
* RedOniBlueOni : RedOniBlueOni: Despite being a StiffUpperLip, Candy is a solid Red (all red cheeks and nose) to Theo's Blue, to everyone's blue basically.



* SignificantDoubleCasting: Creator/DeborahKerr plays Candy's first love - and she then appears as two more women he meets in his life that remind him of her.



* SpitefulSpit
* StiffUpperLip : Roger Livesey's Colonel Blimp embodies his country's national stereotype in the way that Theo with his angsty and serious demeanour embodies Germans have NoSenseOfHumor. Though it's highly subverted.

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* SpitefulSpit
SpitefulSpit: Kaunitz, who had been a German prisoner of war during the Boer War, has published accusations that the British have committed atrocities in South Africa; when the film's English hero, Candy, calls him out on it, Kaunitz spits in his face, and Candy punches him.
* StiffUpperLip : Roger Livesey's StiffUpperLip: Colonel Blimp embodies his country's national stereotype in the way that Theo with his angsty and serious demeanour embodies Germans have NoSenseOfHumor. Though it's highly subverted.



* WhenIWasYourAge : Candy invokes this at the end of the film, in his dealing with Spud.
* WhileYouWereInDiapers : Candy takes this even further.

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* WhenIWasYourAge : WhenIWasYourAge: Candy invokes this at the end of the film, in his dealing with Spud.
* WhileYouWereInDiapers : WhileYouWereInDiapers: Candy takes this even further.



* WorldOfCardboardSpeech : The film's moving final lines...

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* WorldOfCardboardSpeech : WorldOfCardboardSpeech: The film's moving final lines...


* KilledOffForReal: [[spoiler: Barbara, Murdoch and Edith.]]


* CallBack: The memorable last line. When Clive and Barbara come to their house in downtown London, she says it's a fine house on a firm foundation. Then she makes him promise that they'll both stay there and never change, even if there's a Great Flood. Clive jokes that if the floods come they'll have a lake in the basement. At the very end of the movie Clive goes back to his home, which has been destroyed by bombing; the bomb damage caused the basement to flood. He remembers the exchange with Barbara, looks down into the basement, and says "Well here is the lake--and I still haven't changed."

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* CallBack: The memorable last line. When Clive and Barbara come to their house in downtown London, she says it's a fine house on a firm foundation. Then she makes him promise that they'll both stay there and never change, even if there's a Great Flood. Clive jokes that if the floods come they'll have a lake in the basement. At 20 years later, at the very end of the movie movie, Clive goes back to his home, which has been destroyed by bombing; the bombing. The bomb damage caused the basement to flood. He remembers the exchange with Barbara, looks down into the basement, and says "Well here is the lake--and I still haven't changed."



* IWasQuiteALooker: Clive doesn't exactly say this about himself in the speech at the top of the page, not being the boastful type, but although the old Clive make-up is very convincing, young Clive was quite the heartthrob. (Roger Livesey was only 36-37 when the film was made.)



** 1919-1926 is summarized by a hand flipping through a photo-filled scrapbook, combined with various invitations by and to Mr. and Mrs. Candy. Then, after a newspaper clipping letting the audience know that Candy's wife died in 1926, we go back to the heads on walls (Candy presumably having gone back to his bachelor lodgings), which take us to 1938.
* TokenEnemyMinority: Theo.

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** 1919-1926 is summarized by a hand flipping through a photo-filled scrapbook, combined with various invitations by and to Mr. and Mrs. Candy. Then, after a newspaper clipping letting the audience know that Candy's wife died in 1926, we go back to the heads on walls (Candy presumably having gone back to his bachelor lodgings), walls, which take us to 1938.
* TokenEnemyMinority: Theo.Theo, who fights Clive in a duel in in 1902, and is on the other side of the First World War. By the time World War II starts Theo, an anti-Nazi, is a refugee in England.

Added DiffLines:

* CallBack: The memorable last line. When Clive and Barbara come to their house in downtown London, she says it's a fine house on a firm foundation. Then she makes him promise that they'll both stay there and never change, even if there's a Great Flood. Clive jokes that if the floods come they'll have a lake in the basement. At the very end of the movie Clive goes back to his home, which has been destroyed by bombing; the bomb damage caused the basement to flood. He remembers the exchange with Barbara, looks down into the basement, and says "Well here is the lake--and I still haven't changed."


Added DiffLines:

* CreditsGag: The zoom-in to the tapestry at the end says "Sic transit gloria Candy"--"here passes the glory of Candy".

Added DiffLines:

* TheOner: The emotional scene where Theodore tells a British bureaucrat how he came back to England to live, after his wife died and his sons went over to Hitler, runs three minutes without a cut.


* HistoricalDomainCharacter: Clive is apparently friendly with Creator/ArthurConanDoyle, who's said in the film to be collecting material to counter the Germans' anti-British propaganda.



* IdenticalStranger: Three different woman all played by Deborah Kerr.



* TimePassesMontage: A series of animals' heads that Clive mounts in his bachelor pad in London, with the dates and places where he killed them below, mark the passage of time from the 1902 Berlin part of the story to the Western Front in 1918 part of the story.

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* TimePassesMontage: TimePassesMontage:
**
A series of animals' heads that Clive mounts in his bachelor pad in London, with the dates and places where he killed them below, mark the passage of time from the 1902 Berlin part of the story to the Western Front in 1918 part of the story.story.
** 1919-1926 is summarized by a hand flipping through a photo-filled scrapbook, combined with various invitations by and to Mr. and Mrs. Candy. Then, after a newspaper clipping letting the audience know that Candy's wife died in 1926, we go back to the heads on walls (Candy presumably having gone back to his bachelor lodgings), which take us to 1938.

Added DiffLines:

* SeparatedByACommonLanguage: A comic relief bit has Candy struggling to get words like "chit" (message) and "pub" across to an American officer in charge of railroad transport. Candy uses "cafe" as a synonym for the latter, which works.
--> '''Candy''': Dash it, we don't speak the same language.


* NonIndicativeName: The central character is not called Blimp, he never achieves the rank of colonel, [[spoiler:and he doesn’t die.]]
* PhysicalScarsPsychologicalScars: [[spoiler:The reason for Clive's stereotypical mustache? To hide a dueling scar.]]

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* NonIndicativeName: The central character is not called Blimp, he never achieves the rank of colonel, [[spoiler:and and he doesn’t die.]]
die.
* ObliviousToLove: In 1902 Berlin, Clive completely misses the obvious love signals that Edith is giving off.
* PhysicalScarsPsychologicalScars: [[spoiler:The The reason for Clive's stereotypical mustache? To hide a dueling scar.]]


Added DiffLines:

* TimePassesMontage: A series of animals' heads that Clive mounts in his bachelor pad in London, with the dates and places where he killed them below, mark the passage of time from the 1902 Berlin part of the story to the Western Front in 1918 part of the story.


* AFatherToHisMen: Candy. It is implied that he hires his Great War batman, Murdock, as his Butler to ensure him steady work.


Added DiffLines:

* AFatherToHisMen: Candy. It is implied that he hires his Great War batman, Murdock, as his Butler to ensure him steady work.

Added DiffLines:

* NonIndicativeName: The central character is not called Blimp, he never achieves the rank of colonel, [[spoiler:and he doesn’t die.]]


* GoodScarsBadScars: [[spoiler:The reason for Clive's stereotypical mustache? To hide a dueling scar.]]


Added DiffLines:

* PhysicalScarsPsychologicalScars: [[spoiler:The reason for Clive's stereotypical mustache? To hide a dueling scar.]]

Added DiffLines:

* GoodScarsBadScars: [[spoiler:The reason for Clive's stereotypical mustache? To hide a dueling scar.]]


A (subtle) 1943 British WorldWarII propaganda film whose protagonist does not die during the film, is not a colonel, and is not surnamed "Blimp". Despite this triple deception, it is very good.

In the midst of the war, a group of British Army soldiers think they are ''very'' clever when they set out to capture the commanders of the local Home Guard units so that they can easily defeat their leaderless forces in a wargame that starts later that day. They capture the Home Guard commander, Major General Clive Wynne-Candy (Roger Livesey), while he's in a Turkish bath - mocking his outrage at their invalidation of the exercise, his fatness, and his moustache. An enraged Candy begins beating the stuffing out the British Army commander, the young Lieutenant Wilson, and segues into the story of his life. Flashing back 41 years to 1902, we see a young Clive Candy, newly returned from the [[UsefulNotes/TheSecondBoerWar Boer War]] and wearing his new Victoria Cross. A visit to Germany at the behest of Miss Edith Hunter (Creator/DeborahKerr), ostensibly to 'refute anti-British propaganda', and a duel with Prussian officer Theodore Kretschmar-Schuldorff (Anton Walbrook) ensues. Over the next forty years Clive and Theodore meet several more times, including in WorldWarOne, and Clive will always be on the lookout for other women like his idol, Edith.

The film was released in 1943 in the United Kingdom, at the height of WorldWarTwo, and two years later in the United States ([[ExecutiveMeddling in heavily edited form]]).

to:

A (subtle) 1943 British WorldWarII UsefulNotes/WorldWarII propaganda film whose protagonist does not die during the film, is not a colonel, and is not surnamed "Blimp". Despite this triple deception, it is very good.

In the midst of the war, a group of British Army soldiers think they are ''very'' clever when they set out to capture the commanders of the local Home Guard units so that they can easily defeat their leaderless forces in a wargame that starts later that day. They capture the Home Guard commander, Major General Clive Wynne-Candy (Roger Livesey), while he's in a Turkish bath - mocking his outrage at their invalidation of the exercise, his fatness, and his moustache. An enraged Candy begins beating the stuffing out the British Army commander, the young Lieutenant Wilson, and segues into the story of his life. Flashing back 41 years to 1902, we see a young Clive Candy, newly returned from the [[UsefulNotes/TheSecondBoerWar Boer War]] and wearing his new Victoria Cross. A visit to Germany at the behest of Miss Edith Hunter (Creator/DeborahKerr), ostensibly to 'refute anti-British propaganda', and a duel with Prussian officer Theodore Kretschmar-Schuldorff (Anton Walbrook) ensues. Over the next forty years Clive and Theodore meet several more times, including in WorldWarOne, UsefulNotes/WorldWarI, and Clive will always be on the lookout for other women like his idol, Edith.

The film was released in 1943 in the United Kingdom, at the height of WorldWarTwo, UsefulNotes/WorldWarII, and two years later in the United States ([[ExecutiveMeddling in heavily edited form]]).



Upon examining the script, they continued to obstruct its production out of fears that it would might instill doubts about whether all Germans were inherently thuggish and brutal, as in all the propaganda produced during the war so far and in WorldWarOne. This was done because it was not felt that ordinary British people were capable of understanding nuance. Together they successfully prevented Powell & Pressburger from hiring Creator/LaurenceOlivier for the role of Blimp and legally using military equipment and vehicles (which had to be stolen). At the time of its release critics also attacked it for mocking the British Army and/or being "pro-German".

to:

Upon examining the script, they continued to obstruct its production out of fears that it would might instill doubts about whether all Germans were inherently thuggish and brutal, as in all the propaganda produced during the war so far and in WorldWarOne.UsefulNotes/WorldWarI. This was done because it was not felt that ordinary British people were capable of understanding nuance. Together they successfully prevented Powell & Pressburger from hiring Creator/LaurenceOlivier for the role of Blimp and legally using military equipment and vehicles (which had to be stolen). At the time of its release critics also attacked it for mocking the British Army and/or being "pro-German".

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