Fame Is the Spur (film)

Fame is the Spur is a 1947 British drama film directed by Roy Boulting. It stars Michael Redgrave, Rosamund John, Bernard Miles, David Tomlinson, Maurice Denham and Kenneth Griffith.[2] Its plot involves a British politician who rises to power, abandoning on the way his radical views for more conservative ones. It is based on the novel Fame Is the Spur by Howard Spring, which was believed to be based on the career of the Labour Party politician Ramsay MacDonald.[3]

Fame is the Spur
Directed byRoy Boulting
Produced byJohn Boulting
Written byNigel Balchin
Howard Spring (novel)
StarringMichael Redgrave
Rosamund John
Bernard Miles
David Tomlinson
Music byJohn Wooldridge
CinematographyGünther Krampf
Edited byRichard Best
Boulting Brotherrs in association with Two Cities Films
Distributed byGeneral Film Distributors
Release date
  • 23 September 1947 (1947-09-23)
Running time
116 minutes
CountryUnited Kingdom
Budgetover $1 million[1]


When Hamer Radshaw, a young man from a North country mill town, commits to help the poverty-stricken workers in his area, he takes as his Excalibur a sword passed down to him by his grandfather from the Battle of Peterloo, where it had been used against workers. As an idealistic champion of the oppressed, he rises to power as a Labour M.P., but is seduced by the trappings of power and finds himself the type of politician he originally despised.


Critical reception

Allmovie wrote, "sometimes slow-moving, this is an interesting look into the reasons why the Labor [sic] and the Conservative factions are at loggerheads with each other in Great Britain" ;[4] while Bosley Crowther in The New York Times at the time of the 1949 American release thought, "this John and Roy Boulting film has vivid authority and fascination...But, unfortunately, a full comprehension of the principal character in this tale is missed in the broad and extended panorama of his life that is displayed...Mr. Redgrave is glib and photogenic; he acts the 'lost leader' in a handsome style. But he does not bring anything out about him that is not stated arbitrarily";[5] while the Radio Times reviewer David Parkinson has praised Redgrave's "powerhouse performance, with his gradual shedding of heartfelt beliefs as vanity replaces commitment having a chillingly convincing ring. But such is Redgrave's dominance that there's little room for other characters to develop or for any cogent social agenda."[6]


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