I think I've gained a new understanding of my favourite film. Most commentators take their mark from Mr Colpeper's answering to a question at his lecture:
"These ancient pilgrims came to Canterbury to ask for a blessing or to do penance."
They observe that, while Alison, Peter and Bob travel to the city to receive their blessings, Colpeper goes their to do penance.
As it turns out, Colpeper doesn't have to do penance because Peter, having rediscovered his vocation as a musician, loses interest in his plan of reporting him to the authorities.
I now believe that Colpeper receives a blessing too. And to see it we have to go back to the two scenes that run beneath the films closing credits. (If you click play in the video above, you'll be taken to the very end of the film.)
Last month I blogged about the second of them:
But right at the end of the film, the closing credits play over another scene of the boys who fought a battle on the river. It may be significant that they are no longer playing war but football.
After a series of increasingly distant views of the exterior of the Cathedral, the closing credits appear over a shot of the Chillingbourne boys paying soccer with the new football paid for by Bob. In fact this closing section was originally planned as being rather longer, with striking visual recapitulations and an explicit concluding message:We see the bells, great and small, shaking the timbers of the roof with their clamour.We see the towers of the Cathedral, the Angel Steeple, the mass of the building. The bells are still ringing. There is no sign to show whether the time is 600 years ago or today.We see the Cathedral, far away across the valley of the Stour, the houses of Canterbury huddled round it.The bells sound faintly, but the Organ is still playing.High up white clouds are sailing in the wind. A small black speck appears in the sky. It’s familiar hum breaks through the organ music. It is a Spitfire.The camera sweeps down from the sky, down to Chillingbourne Camp.A new battalion of SOLDIERS are marching in to take over.This time they are Americans.We see their faces as they march: faces not very different from the faces we left in prayer at Canterbury. Only the uniforms are different.Here the story ends.As the usual Credit Titles appear at the end we glimpse a little bit more:A brand new football! There they go! Leslie, Terry and the other boys, one side, with berets, fighting unequal odds.Here is the ‘Colpeper Institute’.There is a new poster up, advertising a series of lectures.And – believe it or not! – soldiers and girls are going in.The shots of the Cathedral (a few of which do appear in the released version) and the recapitulated Spitfire sequence reinforce the atemporal symmetrical structure of the film, and seem to be designed to close off the narrative, but the last two images behind the closing credits – the boys and the poster – for all their ambiguous status both within and outside the ostensibly completed chronicle, seem to be intended as glimpses of an imagined sequel and the last would have suggested that Colpeper’s penance was genuine and that for him the pilgrimage had indeed been a significant learning experience after all.
However, by omitting that final image (which would have revealed what the outcome would be) Powell and Pressburger encourage viewers to make up their own minds about the character’s ultimate spiritual fate.