GBS's great play of war, commerce and religion filmed, as if on the stage, by Gabriel Pascal; (it's at its least effective in the scenes where he 'opens it up'). So what we have, fundamentally, is filmed theater, a rendition on celluloid of a 'performance', much in the same way that Anthony Asquith's version of "The Importance of Being Earnest" was filmed theater, although this is in no way as definitive as that was. Still, what's to complain about when the cast includes Wendy Hiller's high-minded, free-spirited Major Barbara; Rex Harrison's cavalier 'Dolly', oscillating between cynicism and idealism; Robert Morley's unctuous Undershaft, too young for the part but carrying it off splendidly and in support the likes of Robert Newton,Marie Lohr, Sybil Thorndike, Emlyn Williams and Kathleen Harrison. There is even a young Deborah Kerr for star spotters. Of course, as it stands, it may appear something of a dinosaur, both as play and film and some of the speeches have the tone of pamphleteering but it's also very funny and often highly entertaining and one is glad Pascal had the temerity to make it in the first place.

Gabriel Pascal and (George) Bernard Shaw have reunited for this enjoyably paced, quirky and characterful adaptation of his 1905 play. That creation uses chocolate, this one replaces it with arms as the eponymous, upright and virtuous character - Wendy Hiller - re-evaluates her leading light position in the Salvation Army when their General (Dame Sybil Thorndike) agrees to accept two huge donations - one from a recently ennobled brewing magnate, the other from her father "Andrew Undershaft" (Robert Morley) - the aforementioned, billionaire arms dealer. It's oft described as a comedy, this - and there are certainly comedic elements to it, especially from Morley and her academic suitor Rex Harrison ("Adolphus Cusins"),but is largely presented more of a question to us, the audience. It challenges us to assess which is (or might be) the more important influence: religion or money; prosperity or integrity. Are they mutually exclusive? Perhaps it is a rather simplistic choice, but Shaw offers us scenarios ably illustrating the opportunity and hypocrisy that we may appreciate both the emotional and practical quandaries of "Maj. Barbara" as her resistance to her father's mercenary existence is tempered with his argument justifying his wealth, and his power. Morley is super - his delivery potently justifies his position to the point where it seems irrational to doubt it! The staging is a little too fixed. Though there are a few outdoor scenes, the vast majority appears overly hemmed in. The brewery lights flashing on and off; the scenes in their shelter, and at their home - all are just a bit linear. The pretty lively scenes with an on-form Robert Newton (the down-to-earth, working-class pragmatist "Billy") come across as just a bit too stifled - the flow is almost staccato at times. With the likes of Ronald Neame, David Lean, Charles Frend and Vincent Korda helping out behind the camera, it was always going to be a well made film, and indeed it is. A social commentary that pitches avarice against principle - and one that leaves us to decide... Good stuff.

If you can sit through the first half of MAJOR BARBARA there is some small reward in that the second half brightens up a bit and there is less of the tedious social commentary that infects the first half--with an outrageously hammy performance from ROBERT NEWTON. He's actually a turn-off for me in the first half of the film.

WENDY HILLER is full of confidence in the title role and is charming throughout. REX HARRISON has an unusual character to play and he does so with his usual skill intact. ("I feel that I and nobody else would marry her"). But the real star of the film is ROBERT MORLEY, a leaner looking Morley with a becoming beard, who has some wonderful scenes with members of his family--particularly his son for whom he has no love at all.

But overall, this is a stodgy, stage-bound looking production burdened by much too much of Shaw's lengthy rants, the social commentary overtaking the storyline and making the whole thing a pompous affair that had me waiting for "The End" to flash on the screen.

I don't second the praise the film has received from intellectuals who love this sort of thing. Despite good performances from the leads, it's got a boring first half that is likely to turn off many would be viewers. Of course, there are some witty Shaw lines. ("You'd sell your soul to the Devil for a pint of beer!").

And incidentally, DEBORAH KERR is totally wasted in a bit role that is very colorless and not at all memorable.