Murder is terrible, of course, but it proves to be surprisingly hilarious in Kind Hearts and Coronets. On top of all the ridiculous schemes Louis Mazzini cooks up, this ironic comedy of manners sets up its unfortunate deaths through Louis narrating his memoir in a detached tone, explaining away the deeds as if it was a natural consequence for the aristocratic snobs in his family. But the dry tone doesn’t quite conceal Louis’ wickedness. In fact, it highlights the horrible desires he’s dreaming of, poking at the fascination around British nobility without the usual melodrama these stories tend to have. It’s this brilliant twist that made Kind Hearts and Coronets so delightfully wicked.
"Drownings, explosions, and poisonings, their ethical status barely mentioned, let alone chastised, roll by like carriages in the park. The comedy is as black as widow's weeds. Artfulness is all."
— Anthony Lane
"Technically brilliant and savagely funny, serial killing has never looked so much fun."
— Paul M. Bradshaw
When his mother eloped with an Italian opera singer, Louis Mazzini was cut off from her aristocratic family. After the family refuses to let her be buried in the family mausoleum, Louis avenges his mother's death by attempting to murder every family member who stands between himself and the family fortune. But when he finds himself torn between his longtime love and the widow of one of his victims, his plans go awry.
Louis D'Ascoyne Mazzini avenges his mother’s death by plotting the murders of eight heirs to the duchy of Chalfont.
It’s pretty funny to cast Alec Guinness as all the unfortunate victims. Each time he pops up again, I can’t help but wonder what terrible fate his character would end up in.
There’s so many things to talk about with this movie, but I just wanted to add here that I loved every time Joan Greenwood as Sibella was on screen.
Venice
1 win
BAFTA
1 nomination
Nat. Board of Review
2 wins
NYFCC
1 nomination
