by Allan Fish
(UK 1943 163m) DVD1/2
War starts at midnight!
p Michael Powell, Emeric Pressburger d Michael Powell w Emeric Pressburger ph Georges Périnal, Jack Cardiff (and Henry Haysom, Geoffrey Unsworth) ed John Seabourne m Allan Gray art Alfred Junge
Roger Livesey (Maj.Gen.Clive Candy), Deborah Kerr (Edith Hunter/Barbara Wynne/Johnny Cannon), Anton Walbrook (Theo Kretschmar-Schuldorff), John Laurie (Lce.Cpl.Murdoch), Roland Culver (Col.Betteridge), James McKechnie (Spud Wilson), Albert Lieven (Von Ritter), Arthur Wontner (Embassy Counsellor), Ursula Jeans (Frau Von Kalteneck), Muriel Aked (Aunt Margaret), A.E.Matthews, Valentine Dyall,
There is something about the most ambitious of Powell and Pressburger’s wartime masterpieces that is rather nostalgic, even after all these years. Sixty years on, it seems to belong to another age, an age and way of life also encompassed in a more insular way by TV’s later Upstairs, Downstairs. Just as that series presented all that was most peculiarly English about us in the first third of the twentieth century, so does this 1943 masterpiece. Yet it does so much more that that, for it encapsulates the very soul of not only England but what it is like to recognise your own nationality. I am certainly no patriot, but even I feel my heart warmed by the timelessness of this film, a feeling increased by the fact that, in one of its numerous subtexts, it is not a patriotic film at all, but rather a study in the triumph of the human spirit, overcoming tragedy, heartache and more besides through inherent decency and affection for one’s friends, whatever their nationality.
Make no bones about it, Blimp is P & P’s masterpiece, a film of such wonderful richness and depth of feeling as to make grown men shed tears like small girls parted from a beloved pet. Roger Livesey’s Clive Candy is a stick-in-the-mud, a traditionalist, someone to whom the modern buzz business phrase “going forward” is an unthinkable act of disloyalty to the past. Yet for all this he’s a figure of affection, a figure for the ages, bridging the gap between C.Aubrey Smith’s retired general of The Four Feathers and Arthur Lowe’s Captain Mainwaring (a fact wonderfully illustrated in retrospect when John Laurie, later immortalised as the “all doomed” Private Frazer, says he’s joined the Home Guard). To him, war was still to be practised on the playing fields of Eton, but eventually he comes to realise that such a viewpoint is as outmoded as his very being. In one of the most moving scenes in British cinema, he returns home to his friend, Anton Walbrook, who tells him that losing a war honourably is not better than winning it dishonourably, that the time for turning the other cheek is gone and that we must use whatever means necessary to preserve freedom, however Machiavellian it may seem.
Powell and Pressburger took many risks in the making of the film; having a central character who became an object of ridicule in the framing scenes during World War II was seen to be disrespectful to the military and to the Home Guard and daring to have a German best friend who is actually the heart of the film was seen as almost treason in the eyes of the Churchills of this world. But the fact was that the film is not about patriotism, it is about friendship above all else. Candy loves the woman who becomes engaged to Theo but says nothing about it because he is a gentleman, but he remains obsessed with her, as his later ill-fated marriage and young driver testify (all three women were played by a radiant Deborah Kerr). Yet the film could not work without the warmth generated by Roger Livesey for the character and it is a great performance, ably supported by the masterfully subtle Anton Walbrook, whose speech to the naturalisation committee about his Nazi son is one of the most heartbreaking ever put on celluloid. Nor must we forget the gorgeous colour from those maestros Périnal and Cardiff. Yet the real triumph here is Pressburger’s managing to capture the very essence of Britishness in a script and film that dared to show a good German in wartime. It remains probably the British cinema’s greatest coup and, for me, its crowning romantic glory, my love for which will always be “very much.”
I do think this is a great film, and I certainly applaud Allan for rightly celebrating it, even if it didn’t make my own list, and even if isn’y my absolute P and P favorite. In any case, it was an enriching and glorious countdown, and Allan deserves the highest praise for a magnificent overview of the films of the 40’s. My own list of the 25 greatest films of this decade is printed on the polling thread, but here it is again:
1. Late Spring (Ozu, Japan)
2. Day of Wrath (Dreyer, Denmark)
3. Citizen Kane (Welles, USA)
4. The Grapes of Wrath (Ford, USA)
5. The Bicycle Thief (De Sica, Italy)
6. The Third Man (Reed, GB)
7. Letter From An Unknown Woman (Ophuls, USA)
8. Kind Hearts and Coronets (Hamer, GB)
9. Les Enfants du Paradis (Carne, France)
10. Casablanca (Curtiz, USA)
11. It’s A Wonderful Life (Capra, USA)
12. La Belle et la Bete (Cocteau, France)
13. Great Expectations (Lean, GB)
14. Double Indemnity (Wilder, USA)
15. Brief Encounter (Lean, GB)
16. The Treasure of the Sierra Madre (Huston, 1949)
17. The Shop Around the Corner (Lubitsch, USA)
18. The Maltese Falcon (Huston, USA)
19. The Magnificent Ambersons (Welles, USA)
20. Rebecca (Hitchcock, USA)
21. Henry V (Olivier, GB)
22. Crows and Sparrows (Junli, China)
23. How Green Was My Valley (Ford, USA)
24. Black Narcissus (Powell and Pressburger, GB)
25. La Silence de la Mer (Mellville, France)
Further to my last post, I would like to briefly relate a very special reflection on a special screening of BLIMP at a movie palace in New Brunswick, New Jersey during the summer of 1993.
Martin Scorsese, a legendary Michael Powell desciple, hosted the screening, and conducted a brilliant Q and A session afterwards. My own question was thrillingly fielded, which concerned the old Crierion laserdisc of the film. Scorsese then asked everyone in the audience who brought their LDs in hopes of getting them signed, to hold the laserdiscs over their heads.
It was one of those priceless events, and it certainly presented the film is its ultimate incarceration in a stunning technicolor print.
yes while this is a good film it isn’t to my mind the director’s best. But leaving this aside putting it above Ozu and de Sica and some others seems to me a completely indefensible decision.
Good write up by Allan as always.. I suspect nostalgia has really worked it’s magic here allowing for this ranking!
And here you were questioning Sam’s ’08 choices the other day!
No nostalgia in it, merely seeing the greatest film of its decade for what it is. One of the best two or three films ever made.
Wow, very surprising choice (and I’ve been following along in earnest). But here I am entirely pleased as well. Nothing brings me quite as much joy as reading the passion another person has for a particular film. Thanks for the series, Allan, and thanks too, Sam, for making sure readers’ lists get posted here as well. Crowning the greatest films of a particular decade is ambitious and taxing, and requires greater strength than I have, so I’ve enjoyed reading. I patiently await subsequent decades…
Thanks so much for that T.S., and yes I must admit that the magisterial job Allan did here can’t possibly be praised enough. Brilliance!
Thanks for following the series, and yes, after this poll we will move on with the 50’s, 60’s 70’s, 80’s, 90’s and by that time the new millenium choices, which will end (2000-2009) at just the right point to address the most recent decade.
I can only echo T.S.–allow Allan his choices. They are all rigorously, passionately defended, including his #1. A fine series to watch “count down.”
“Very much” indeed. Fantastic to see this at number one, Allan. Despite the fact (maybe even BECAUSE of the fact that) I’m an American who’s never even ventured across the pond my affection for Powell and Pressburger reaches its peak with “Blimp,” which I would easily rank in my top 5 films of all time. Part of the fun of it for me was the xenocentric, fetishistic way a US citizen has to approach the material — at the beginning it’s almost as though the characters are speaking an entirely different language that we have to decipher (Clive Candy magnificently echoes this in an exchange with an American officer where the confounding term “chit” is used). There’s also the inside joke of the title and the reference to David Low’s cartoon strip — common knowledge to any Brit in WWII but sheer hieroglyphics to everyone else. But that is, to me, what makes “Blimp” such a riveting achievement: it is, paradoxically, through P&P’s esoteric fixation upon a specific sub-culture that they arrive at such universal truisms about life, love, the passage of time, and the changing of the generational guard (I wrote a blog comment in October over at bright lights after dark that I was particularly proud of; in it I essentially mapped out how Obama could win the 2008 election by watching this film). And then there’s Deborah Kerr, Candy’s muse, a representation of each era’s élan. And of course the exceptional Anton Walbrook, who was never better than in the scene where he describes his wife’s yielding to Nazism — not even his performance in “The Red Shoes” matches it.
I sometimes wonder if folks who find “Blimp” dated saw the same movie as I did; it’s one of the richest visual and thematic experiences out there. Powell and Pressburger made better war-time propaganda films (“49th Parallel”), they made better art films (“Black Narcissus”), and they made better love stories (“A Matter of Life and Death”) — but “Blimp” complexly fits into all of those categories while bleeding into something larger, something more elusively human, at the same time. It is, quite simply, utterly singular; very possibly the most lustrous jewel in England’s cinematic crown. I would give almost anything to again unfold its alien exterior layer by layer, slowly revealing the subtle, socio-personal epiphany at the center.
Hi! Allan Fish,
What a very interesting review and choice for your No#1 pick!…I must admit “outloud” and in “public” that I have never watch any of the Powell and Pressburger films, but no worries!…I am quite sure that I will one day.
That is if “our” (Sam and Alexander, both know of who(m) I speak…) man in Canada, not Havana…is reading my comment.
Now…I truly digress…Sam Juliano and Joe, Thank-you!… both for coming to my “defense” and I am quite sure you both know what I’am referring to….Once again!…
Merci! Beaucoup!
darkcitydame 😉
Joseph, couldn’t agree more. Blimp is one of those films that reaches into the bloodstream. it captures something indescribably British, at the same time satirising and cherishing it. It also contains several truly transcendental sequences; one you mentioned, Walbrook’s speech to the authorities where he cynically ends it with a Heil Hitler. But the great sequence has to be at the traffic lights, the look of realisation on Walbrook’s face when he sees Kerr’s face in the traffic lights. It’s pure bliss. It is their greatest film, the greatest British film ever made, one of the top half doxen films of all time. Those who don’t think so simply haven’t been watching.
Dark City Dame, I know just who you mean, when you speak of our man in Canada. Would his initials be “G.M.”? I will definitely resolve the Powell and Pressburger with you soon, so we don’t need the man from up there, I have every one here……….and as far as “coming to your defense, you deserved no less–the internet has its share of weirdos, thats for sure!
Thanks as always for your support and appreciation!
Joe Lanthier: I don’t know what else to say except that your recent submission is brilliance incarnate as is Allan’s answer to you. It’s what makes movie-going as enriching as it is!
One of my all time favorite films, even if I may like “The Red Shoes” just a little more.
Ironic, considering what I posted three minutes ago, Matt, the first of the fill-in series of near misses…
“It is their greatest film, the greatest British film ever made, one of the top half doxen films of all time. Those who don’t think so simply haven’t been watching.”
No we’ve just been watching far better!
To suggest it is one of the half dozen or so greatest films ever made should be deemed a criminal act! I cheerfully urge prosecution..
Kaleem, I peacefully respect your right to bring the matter to trial. Might I suggest Abraham Farlan as the prosecutor. Our case will, naturally, be defended by the astute Doctor Reeves.
Here’s the famous British Sight and Sound Poll from ’02 where Blimp is nowhere on any top 10:
http://www.bfi.org.uk/sightandsound/topten/poll/
Far better…oh yes, that masterpiece of yours Cheyenne Autumn, ahem. Or anything directed by Akira Kurosawa, still Mizoguchi and Ozu’s inferior no matter what you may say.
Blimp is the greatest British film of all time, in my opinion, which is the only one that matters to me, while yours has always been as worthwhile to me as an empty crisp packet. You can choose to remain in the dark, Mr Hasan, that’s your prerogative. I shall say no more. I simply have no time any more for your endless provocations.
Don’t waste time with him Jon, conversing with Mr Hasan is about as worthwhile as performing unanaesthetised root canal surgery on yourself. Believe me, I have years of cruelly enforced experience.
Joseph: We’re already at the hangman stage!
Seriously though I actually quite like Blimp. I don’t find it dated though it’s probably the ultimate nostalgia trip. I would personally place A Canterbury Tale over it.
Just looking at films from the 40s I find it impossible to fathom how it could be placed over Late Spring or Citizen Kane just to name two films. I doubt there’s a critic alive who’d place it over either film but especially the latter.
I think that when we engage in such lists we should perhaps be clearer about whether this is a list of favorites or a proper ‘critical’ list. The dividing line can often get blurred. At the same time one hopes that there is enough of the critic in one not to put Blimp on the pedestal normally accorded to the likes of Eisenstein.
I am all for alternative choices. I see the case ‘for’ Blimp, just not one for why it deserves to be called one of the absolute greatest.
Allan: It’s not about ‘me’. No living critic would place Blimp over Kane. Not even a British critic would!
But ‘greatest British film’ (which I would perhaps dispute) does not logically imply one of the greatest films ever made, does it?
Because you have raised Cheyenne Autumn let me clear up what is a clear misrepresentation. I haven’t called Cheyenne Autumn one of the greatest films or what have you. I suggested it was a fine film that had been initially very underrated and which now seems to be gaining in terms of reputation. My more important point here was that it very much complements the Searchers. The two films could even be considered a sort of diptych.
Now since you’ve mentioned Kurosawa let me bring up Seven Samurai. No one would wish to argue that Blimp matches this Kurosawa work by any measure of visual artistry. I don’t believe Blimp offers more profound socio-political commentary than Seven Samurai either (even if one is less familiar with these contexts). Finally the comparative influence of each film is not even a debatable point. So I am unsure what category of cinema by virtue of which would make one prefer Blimp to Seven Samurai.
But Seven Samurai is one example. I would suggest the same for Late Spring. So on and so forth. Can Blimp honestly be asserted as a work comparable to Potemkin or Rules of the Game or similar titanic works?
Again (and this is a critical point) I am not arguing against your right to love this film more than any other. I am just debating this where you imply a critical standard.
“Don’t waste time with him Jon, conversing with Mr Hasan is about as worthwhile as performing unanaesthetised root canal surgery on yourself. Believe me, I have years of cruelly enforced experience.”
if only ‘funny lines’ such as this were enough to constitute a serious response!
And check out this BFI poll from 1999 which asked only people from the “world of UK film and television”. Blimp is # 45.
http://en.wikipedia.org/wiki/BFI_Top_100_British_films
Yes, but that list is worthless as, to bring it up, you must agree with Chariots of Fire, The Crying Game, Four Weddings and a Funeral and The Full Monty being rated its superior. Those sort of polls – the AFI ones are just as mediocre – have and always will be worthless.
As for giving serious responses, I have given you many, but am tired of doing so. The way you should respond is to bring forward your own top 50, your own countdown, with reviews of your own…but that response requires dedication, something you have never and will never have.
You couldn’t even put your 25 in order like the rest of the votees, you had to seem aloof by putting them in no order at all. Somehow criticising my choices while including Sanshiro Sugata and Fort Apache does seem the height of irony…
Allan: As I’ve said before many times I don’t like putting things in order beyond a decent limit. To suggest that on a list one film is good enough to be #43 but not actually #42 which in turn could never be at #34, so on and so forth, is something that I am unable to fathom. One can be sure about a top 5 or 10 but 25 or 50 is too much. The list is fine to the extent that one means to privilege certain films but to insist on the precise order is odd to my mind.
If you have given serious responses these probably weren’t in English or else I’ve had even more serious memory loss.
The point of the polls wasn’t to affirm them but to suggest that even important critics, directors, more general voices within the British industry did not put Blimp anywhere on their lists.
Could you allow the possibility that this is a good, even very good film that is nonetheless not up there with the greats? What movie authority can you cite who would put it up there among the top five six films or so as you posit? Unless they’ve all not been watching it carefully also!
Blimp has always been a bit of blind spot with you. There’s too much personal investment on your part here. Which is absolutely fine. But don’t react incredulously if I question how this film can be pleased with some of the greatest works of cinema!
Enough of this. May I draw your attention to the Time Out Centennial of cinema poll from 1995. A host of critics and directors were aSKed to name their best films. In this poll, The Life and Death of Colonel Blimp came 23rd on the greatest list of films of all time. Kane came first, of course, but the only other films from the 1940s to beat Blimp was another Powell, A Matter of Life and Death, and Les Enfants du Paradis, both equal 13th. This places Blimp fourth greatest of that decade. The only British films listed ahead of it were Lawrence of Arabia and the same A Matter of Life and Death.
YOU SAID…
putting it above Ozu and de Sica and some others seems to me a completely indefensible decision.
Well, these critics didn’t think so. Nor did critic Chris Peachment when writing in Time Out that “in the history of British cinema, there is nothing to touch it”. Merely dismissing what may be the best British film of all time as not worthy of a place amongst the greatest in cinema history is just worth responding to.
I know that you also believe The Third Man is seriously overrated, one of the other contenders for best British film. Your assertions that no British critic or anyone would rate it amongst the greatest films of all time is, as usual, utter rubbish. Over a dozen critics polled to their best 10 films – which made up that best 100 Time Out list – agreed with me.
I could dig up more, if you like, but for you to call the praising of Blimp a crime is the epitome of hypocrisy when you praise far more mediocrities than I ever would. You can act incredulously to this news, this is your prerogative and you exercise it liberally to those – like me – you consider your intellectual inferiors. You may be well versed in many aspects of the arts, Mr Hasan, but in film allow me to say you have light years to go before reaching the ranks of the merely competent. And don’t complain about my attacks when you set out to provoke.
I will submit that 23rd on an all time list is a bit different than being among the “half dozen” greatest of all time!
The last paragraph is more misrepresentation on your part. The point wasn’t about ‘praising’ Blimp but about making it the equal of the greatest works of cinema which is what your assertion was and which I still consider a crime of a judgment!
As for responses there’s a difference between questioning another person’s choices (as I do quite often) and resorting to the ad hominem (which you do quite often). In fact when rigorously quizzed on anything the latter is usually your method of choice.
Even in a poll of your choosing you can get Blimp no higher than 23rd! Even in a poll of your choosing it’s no higher than 4th for the 40s! I rest my case!
By the way I would appreciate a link to that poll.. I provided the same for the ones I quoted!
So sorry, I was forgetting you always need directions…
http://www.geocities.com/aaronbcaldwell/timeout.html
It’s also listed at filmsite.org.
The point is that Blimp is seen as one of the greatest films of its decade and of all time – 23rd and above numerous great films.
AND THIS IS MY CHOICE. HOW DARE YOU ORDER PEOPLE WHERE TO PLACE THINGS IN THEIR OWN POLL.
If I wanted to talk to a fascist, I would contact you, as I don’t, kindly go forth and unexist!
“AND THIS IS MY CHOICE. HOW DARE YOU ORDER PEOPLE WHERE TO PLACE THINGS IN THEIR OWN POLL.”
check out your reaction to Sam’s list!
So from one ‘fascist’ to another?!
I still submit there’s a difference between 23rd and ‘top half dozen’! But why is this the only list you’re looking at? You know as well as I do that you won’t find too many lists around the world that have it even this high. In fact as far as this film goes this particular list is an outlier which cannot be said for many of the other films on that list!
And why are you complaining solely about Blimp when I put two others over Kane. You accuse me of sentiment over Blimp, I accuse you of having a bee in your bonnet over it yourself. But enough, I have simply had enough of dealing with such a person.
Allan: As always you are pretending to miss the point. I don’t particularly care if you place Blimp as the very greatest film of all time. I am all for such idiosyncracy because I don’t believe in the tyranny of lists beyond a point. As you well know most of the times I have ‘upset’ you it’s because I have refused to follow many obvious choices or offered dissenting views on films considering important by very many people. In fact you have regarded such dissent as nothing less than sacrilege. But you conveniently allow yourself the idiosyncratic freedom you deny others. Your response to Sam’s list there is a case in point and in truth there are countless such examples from you.
But as a matter of personal opinion I just think you’re too heavily invested in Blimp on a personal level to ever be too objective about it.
Hey guys…not to continue fanning the flames of pugilism over here, but I’ve made a post over the Powerstrip that was heavily inspired by your exchange, above, which I’ve been following closely. I find the greater issues of critical duties at stake here rather interesting. I will let you know Kaleem that you will probably find this post to have sided more with Allan, but your counterarguments are worth stating, absolutely. Here ’tis:
http://blog.aspiringsellout.com/2009/01/gist-of-lists_25.html
Yes, Mr Hasan is quick to criticse me for things he happily does himself. He says Blimp alone cannot be greater than Kane, yest I rated Sullivan’s Travels and Out of the Past above it, too. He said nothing about them, it’s just Blimp he cannot stand to see placed so highly. In actual fact, for all his protestations about my personal investment with Blimp, he has invested even more with his “anti-Blimp because a certain person likes it so much” routine. He even goes so far as to go out of his way to love films I rate badly simply to contradict, as with How Green Was My Valley.
He basically sees his mission in life to contradict, antagonise and provoke yours truly.
Mind you, he won’t like you criticising Rashomon and Ikiru as overrated, though he won’t say so as it’s not personal. He saves his vitriol for me and I’m happy to respond in kind, for he merits nothing but vitriol.
Well, we all need a “mission in life” Allan. Hm, I hadn’t even realized that I put both Ikiru and Rashomon on that hastily prepared “white elephant” list — although as a Rorschach response it does suggest that I’ve never really “gotten” Kurosawa’s mastership. Then again, you’re talking to someone who’s never seen a Max Ophuls or Frank Borzage (though I plan on amending those blindspots very quickly). I must say it is nice to belong to a community where “Blimp” is discussed at all with such fervor, although the film itself hasn’t really been cited for a good 12 comments or so…
You need to watch Ophuls and Borzage, Jon, that’s for sure, especially the former.
And yes, Rashomon and Ikiru deserve another chance, especially Ikiru.
Coming here, you sometimes need to wear a plutonium suit to avoid pollution.
“You need to watch Ophuls and Borzage, Jon, that’s for sure, especially the former.”
I’m working on it, I’m working on it!…
“And yes, Rashomon and Ikiru deserve another chance, especially Ikiru.”
Probably right, although one thing to make clear is that I don’t think either are “bad” films, just overrated ones. I also vastly prefer Ikiru to Rashomon (which I find basically a prolonged moral gimmick and sadly lacking the nuance and ambiguous cosmic intensity of the source material). A few of the scenes in Ikiru, particularly in the final third, are delightfully poetic in a rare, straight-forward way. It just wouldn’t make my top ten. But my top 100? That’s another story…
“Coming here, you sometimes need to wear a plutonium suit to avoid pollution.”
I’m holding out the hope that the prolonged exposure to radioactivity may turn me into some useful sort of mutant critic whom no one would like to see “angry”…
Allan: Myteriously I love Jonathan Rosenbaum and he has very little taste for Kurosawa.. I thank you for this latest misrepresentation! But then you’ve had severe problems with me precisely because I never followed such lists too well. Or questioned ‘obvious’ classics and so forth. The rest is just polemical response on my part since as always you allow yourself what you never grant the other! I think this is on display every single day on this very blog. You are allowed your idiosyncracies as long as you don’t start questioning mine. But such has not been the history. Leaving all else aside I don’t resort to personal insults as you do when you tire of sane argumentation!
Kaleem, “Jon” Lanthier has a wonderful response to you under the “Jenny Bee” thread.
I have an idea. Why don’t you all grow the fuck up and realize you’re just talking about fucking MOVIES.
In other words, OPINIONS! Jesus Christ I come to this thread and feel like I’ve stepped back in time to elementary school.
Matthew, I must admit you make an excellent point there. This can get quite exasperating at times.
Matthew: It isn’t ‘just’ movies.. if we didn’t have movies how would we know we existed?!
With your brain.
LOL Matthew!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Matthew: I’m afraid I can’t channel Descartes this late in the game! But also our brains are filled with movie images!
Kaleem, I find your last comment and the whole notion of film and Cartesian logic ironic since over the Powerstrip our conversation about lists is quickly distending to make way for ontology, determinism, and a bit of Platonic thought, too…all from discussing “fucking MOVIES”. Ha!
‘for it encapsulates the very soul of not only England but what it is like to recognise your own nationality’. You can’t be serious – I thought this was a socialist web-site. Leave the mystical nationalist guff to Newman and Perryman. On the subject of mystical nationalism, wasn’t P&Ps ‘The Canterbury Tales’ just that? I could imagine Mosley and chums would have loved that film.
I have no idea how you came here, Doug, thinking this was a Socialist web-site – maybe the website for the World Wildlife Fund is Socialist, too, for its about as relevant to that site as it is to ours. And as for bringing Mosley into it, belief has well and truly been beggared.
There’s one thing to be thankful for – before releasing the comment from the spam bucket (which I assume it went into after the reference to Britain’s premier fascist of the 1930s) I noticed your email address as ndevon.swest.nhs.uk. If the cider doesn’t do the trick, the NHS drugs should.
You’re indeed correct on this blog post
You actually make it seem so easy along with your presentation but I find this topic to be actually something which I believe I might by no means understand. It seems too complex and extremely extensive for me. I’m having a look forward to your next post, I will try to get the grasp of it!