21 Days

21 Days, released in 1940, is an intriguing British crime drama film which stars prominent actors of the time: Vivien Leigh, well-known for her role in "Gone with the Wind," Leslie Banks who was a reputable stage and film actor, and Laurence Olivier, acclaimed both as an actor and director.

Set in the heart of London, the film is also known as "Twenty-One Days Together," resonating with the riveting plot that unfolds over a span of just 21 days. The film adapted from the short play "The First and the Last" by John Galsworthy, reflects the dynamic confluence of romance and crime, delicately handled by director Basil Dean.

Vivien Leigh as Wanda, and Laurence Olivier as Larry Durrant, set the screen ablaze with their intense chemistry. Larry Durrant is caught up in a love triangle between Wanda, a woman with a dubious reputation, and her brother Keith Durrant, played by Leslie Banks. Keith is a successful and respected barrister, engaged to Larry’s younger sister. The role of Keith encounters the grim dilemma of personal and professional responsibilities, which Banks portrays with outstanding charisma.

In the midst of this tangled relationship web, Larry becomes implicated in a murder case, which engulfs the narrative with a wave of suspense. The convoluted situation brings Keith’s allegiance into question, as he has to navigate the shady world of crime and law to determine his brother-in-law’s fate. The anxiety and tension build up over the defined timeline of 21 days (the period between the crime and its consequences).

Vivien Leigh, as Wanda, artfully embodies the film's central conflict. The character embodies charm, vivacity, and vulnerability. The magnetic pull she exerts in Larry's life is the catalyst that triggers much of the film's drama. Her performance is a testament to her talent and versatility as an actress.

Laurence Olivier as Larry delivers a riveting performance. Despite his character being caught in a whirlpool of deceit, lies, and an impending doom, he does an excellent job of maintaining a calm demeanor, hiding his inner turmoil. Olivier’s performance reflects his mastery over the craft, blending finesse and intensity with utmost subtlety into his character.

Leslie Banks, on the other hand, marvelously sketches the character of Keith, who is torn between his legal obligation and familial loyalty. Banks presents an imposing representation of a man wrestling with his moral compass, responsibilities, and personal interests.

The film progresses at a charitable pace, gradually unfolding layers of a complex narrative. Each character's motivations and fears become more prominent as the countdown to the final day ramps up the suspense.

The direction by Basil Dean is commendable. He successfully maintains tension throughout the film with liberal use of shadows and slightly angular photography. The mise en scène of London serves as the perfect backdrop for this suspense-laden story, contributing in intensifying the characters' isolation and entrapment subtly on-screen.

The film's screenplay, crafted by Basil Dean, Graham Greene, and from the adaptation by John Galsworthy is effective in emphasizing the human elements in a deadly situation. The dialogues are crisp and adeptly constructed, adding depth to the narrative.

21 Days, though largely forgotten, stands distinct in the annals of British cinema. It should not be missed by fans of Vivien Leigh and Laurence Olivier, who would appreciate the opportunity to see these luminaries share screen space. The film provides an engaging and in-depth story of love, crime, and integrity, elegantly underscored by impressive performances from its cast.

In conclusion, 21 Days is a memorable cinematic offering. It pronouncedly captures the nuances of the human condition when confronted with the time-bound certainty of an impending crisis. With strong performances and a riveting plot, it remains an interesting and engaging viewing choice for lovers of vintage British cinema till today.