The Stars Look Down (1940)

Introduction

The Stars Look Down (1940) is a compelling, socially conscious British drama that grapples with class conflict, industrial exploitation, and moral idealism. Directed by the then-rising Carol Reed, the film is adapted from A. J. Cronin’s bestselling 1935 novel and stands as a stark indictment of the conditions faced by coal miners in northern England during the early 20th century. In both style and content, the film marks a critical moment in British cinema—where social realism, political engagement, and narrative craftsmanship were skilfully intertwined.

This is not only a story of one man’s moral journey but also a broader commentary on systemic injustice and the invisible human cost of industrial progress. Released on the eve of World War II, The Stars Look Down resonates with an urgency and authenticity that still feels strikingly modern.

Plot Summary

Set in the fictional mining town of Sleescale, the film follows the life of Davey Fenwick (Michael Redgrave), the son of a miner. From a young age, Davey is determined to escape the life of the pits, aspiring instead to become an educator and political reformer. His ambitions are supported by his intelligent and quietly proud mother (Nancy Price), while his father (Edward Rigby), a miner with a stoic sense of duty, respects but struggles to fully understand his son’s aspirations.

After earning a scholarship, Davey leaves Sleescale to study, but is eventually drawn back to his hometown when he realizes that education alone may not be sufficient to combat the deep social inequalities around him. Along the way, he marries Jenny Sunley (Margaret Lockwood), a flighty and status-conscious young woman who is far more interested in social climbing than political ideals.

Meanwhile, the mine is under the control of the unscrupulous owner Richard Barras (Allan Jeayes), who ignores warnings about flooding in order to keep the pit open and profitable. As the miners’ safety is compromised, the drama builds toward a tragic and powerful climax that starkly reveals the consequences of unchecked greed and neglect.

Themes and Social Commentary

Class and Industrial Exploitation

At its core, The Stars Look Down is a searing examination of class hierarchy and the brutality of industrial capitalism. The miners are portrayed not as faceless laborers but as fathers, husbands, and human beings whose lives are undervalued by those in power. Reed draws a sharp contrast between the wealth of the mine owners and the poverty of the workers, reinforcing the film’s leftist sympathies and its call for systemic change.

Davey’s journey symbolizes the possibility of transcending class through education, but also illustrates the limits of individualism in the face of institutionalized injustice. When Davey returns to Sleescale, he must confront the reality that change requires collective action—not just personal success.

The Role of Women

Margaret Lockwood’s Jenny represents a counterpoint to Davey’s idealism. Her desire for social status, comfort, and independence is not portrayed with total condemnation, but rather with a degree of sympathy that highlights the limited options available to women at the time. Her marriage to Davey is ultimately a mismatch of values, and her character arc serves as a critique of social aspiration divorced from ethics or community.

Nancy Price’s portrayal of Davey’s mother is especially poignant—grounded, wise, and morally clear. She is the emotional core of the film, embodying both the dignity and suffering of the working class.

Moral Responsibility and Social Reform

The film asks fundamental questions about responsibility—of employers toward workers, of husbands toward wives, and of educated individuals toward their communities. Davey’s personal conflict—between retreating into a comfortable life or returning to fight for change—echoes the broader ideological tensions of the 1930s, particularly in Britain’s industrial north, where labour movements were gaining momentum.

The mine disaster that closes the film is not just a tragic event but a political and ethical indictment. It is preventable, forewarned, and ultimately the result of inaction and avarice. In this sense, the film functions as a moral drama as much as a political one.

Performances

Michael Redgrave brings youthful passion and an earnest, introspective quality to Davey Fenwick. His performance is quietly powerful—never bombastic, but always emotionally grounded. Redgrave perfectly conveys the tension between Davey’s intellectualism and his working-class roots, as well as his growing sense of political awakening.

Margaret Lockwood, known for her glamorous roles, gives a nuanced performance as Jenny. While the character could easily have become a mere caricature of vanity, Lockwood imbues her with flashes of vulnerability and longing, making her a complex, if ultimately tragic, figure.

Edward Rigby, as Davey’s father, offers a performance of stoic humanity. His scenes—especially those in the mine and the domestic conversations with his son—are among the film’s most affecting.

Emlyn Williams, who also starred in the stage adaptation of the novel, plays Joe Gowlan, a miner who chooses a very different path from Davey. Gowlan is ambitious and self-serving, a morally ambiguous figure who mirrors the seductive nature of capitalist mobility.

Direction and Visual Style

Carol Reed, only a few years before Odd Man Out and The Third Man, already exhibits his talent for creating mood and tension through visual storytelling. His direction is crisp and purposeful, blending realism with expressive detail. The mining sequences are especially compelling—gritty, claustrophobic, and convincingly staged.

Reed and cinematographer Mutz Greenbaum (later known as Max Greene) craft a bleak, industrial aesthetic—black smoke, heavy shadows, and the oppressive geometry of pit machinery dominate the screen. The film’s atmosphere reflects the moral darkness and human cost of its subject.

Reception and Legacy

Upon its release, The Stars Look Down was critically praised for its seriousness of purpose and its strong performances. It resonated particularly in Britain, where the realities of class division and the labour movement were deeply felt. Though less internationally famous than Reed’s later works, the film has grown in stature among critics and historians for its mature social consciousness and cinematic craft.

In the years since, the film has been recognized as a pioneering entry in the tradition of British “kitchen sink” realism and a precursor to the social dramas of the post war period. It also serves as a bridge between the political filmmaking of the 1930s and the noir-influenced psychological films that Reed would later helm.

Conclusion

The Stars Look Down is a powerful, intelligent, and deeply humane film that uses personal narrative to illuminate systemic injustice. Through the lens of one man’s moral awakening, it offers a stark, poignant portrait of a community on the brink—exploited, overlooked, and ultimately sacrificed to profit.

Carol Reed’s direction, Michael Redgrave’s understated brilliance, and the film’s unapologetic social engagement make it a key work in British cinema history. It is both a protest and a lament—a reminder, as its title suggests, that while the stars may look down in silence, the suffering of those below demands to be seen and addressed.

A deeply felt social drama that remains relevant and potent—a triumph of British realism and conscience.