Mr Perrin & Mr Trail (Lawrence Huntington 1948), features Marius Goring and David Farrar as two teachers in a remote Cornish public school, run by a headmaster who bullies and humiliates the staff. Goring, as Perrin, is an exhausted, mother dominated master somewhere in his forties. Traill is new blood, a war-hero, who wants the best from the boys and a Cambridge rugby blue to boot. Perrin’s nose is put out of joint when he learns that Traill is about to teach maths, his own subject area, but he is soon competing over the attentions of Isobel Lester, the school nurse. She has no interest in him but his mother encourages him to imagine that every kind word is a hint at endearment. As Traill and Isobel become involved, Perrin becomes insanely jealous. Imagining that she has been stolen from him, he breaks down and wants Traill out of the way. The film fits alongside The Guinea Pig and The Browning Version where older, out of touch, classics or maths masters are displaced by more enlightened figures with a broader understanding of life. Within the school walls all topical concerns of the day are focussed. Included in this thread are Gordon Parry's Tom Brown's Schooldays (1951) and Leslie Norman's Spare the Rod (1961), where the issues are substantially the same. Mr Perrin and Mr Traill is taken from the 1911 novel by Hugh Walpole, which started the schoolmaster story and surprisingly had not been adapted to the screen before. The book concentrates almost entirely on Perrin's response to Traill which forces him to confront his own feelings. Some commentators have noticed that his turning from being a respectable, but inhibited professional to a maniac is Walpole using the Dr Jekyll and Mr Hyde concept. Something of Traill as Perrin’s alter ego, remains in the film, but it is not revealed in any meaningful way. Reasonably well received at the time, it looks leaden today and production values are poor. Despite some Powell and Pressburger stalwarts in the cast and crew, there is no spark to it and you feel that is is bare bones production. Marius Goring, always a lightweight actor, cannot carry his part. He is neatly pedantic, even spritely when the film begins, yet is ludicrous as an aspiring lover waiting for the “propitious moment? to declare himself, more like an ageing pensioner living on his memories; David Farrar gives another of his celebrated straight-forward virile performances, although he isn’t given much scope. Greta Gynt has little to do, does it well enough. Raymond Huntley, as the sadistic headmaster, makes only a tiny, undistinguished appearance, despite his being responsible for fearful spite than runs through the common room and into the domestic lives of his staff. Although the film still holds interest when seen in context, there is little to be said for Lawrence Huntington's direction. Around the same time, he helmed Night Boat to Dublin, The Upturned Glass, and When the Bough Breaks all of which have more going for them.