The Proud Valley

Synopsis: In a Welsh coal mining valley, a young man with a beautiful singing voice is called upon to make the ultimate sacrifice when a pit disaster threatens.
Genre: Drama, Music
Director(s): Pen Tennyson
Production: Criterion Collection
76 min

They can't stop us singing

They can't stop us singing


the stars are shining

All through the night

They can't stop us singing

They can't stop us singing

All through the night

So still keep on singing

They can't stop us singing

For in the darkness

we are singing

Morning sun we'll

soon be greeting

All through the night

They can't stop us singing

Through the night

Here, here, here.

What the hell do you think you're doing, eh?

- Sorry, friend. I didn't see you.

- Didn't see me? You ought to have known I was here.

I've been catching this train up the valley

regular for the past 10 years. Anybody'll tell you.

My fault.

I've never been up this way before.

All right.

But don't let it happen again.

- Okay, chief.

- Hmm.

- Off a ship by the look of ya.

- Yeah. Stoker. Seagull. 13,000 tons.

- Laid at up at Cardiff three months ago.

- You've been looking for work ever since. I know.

Think there's a chance

to get a job in one of these pits?

Well, maybe. There was a colored bloke.

Blackie Ellis they called him.

Used to work in the Glen Colliery.


Now, you wouldn't think I was

a rich man, would you?

- No, not to look at.

- I'm married, and how much do you think I pay my old woman?

Two quid a week.

Yes. I was surprised myself

when the court made the order.

How do you manage it?

Company promotion?

No, chum.

I toils not, neither do I speak.

- Grinding's my game.

- Grinding?

- Blimey, don't tell me you've never heard of it.

- No.

Art related to psychology.

That's what it is.

You touch people's feelings

by offending their ears.

I find a nice little stretch of gutter

in front of the right kind of houses.

Off comes me hat - humble -

and I start singing.

I pick a well-known tune,

and I murders it.

Now listen.

And when your friends desert you

At the time of your downfall

You'll find that your mother

Is the best friend of them all

Surely the people in these valleys

won't stand for that noise.

Why, this is one of my best districts.

The more you work 'em,

the quicker they pay you to go away.

These Welsh are daft about music...

and as open-handed as the sun.

- Why don't you join me, eh?

- No, thanks.

I'd rather work for my living.

- Work? It's a disease.

- Well, I wish I could catch it.

That's why I'm on my way to that new

armament factory in Darren Valley.

Well, the special will take you

as far as Blaendy Colliery.

But you're leaving Egypt

where the corn is, my son...

and going right into the winds.

That hooter means they're changing shifts.

You're telling me. I worked down in the mine

for five years back in the States.

Well, we better lie doggo for a bit, son.

- Here. Have a bit of cheese.

- Thanks.

They're coming up.

- Why did we lose the last competition then?

- We didn't get fair play.

I never knew a losing choir who did.

- Too many flaming crooners in the choir. That's what's wrong.

- Who you getting at?

Get out of that cage. Do you want to

go back down, stead of these chaps?

Aye, go on.

Snip-snapping like a lot of kids.

More neck oil.

That's what the choir wants, boy.

Neck oil be damned!

It was you basses that let us down

at the last competition.

- Look here -

- Give it a rest, you two.

- I'm fed up with you and - - And I'm fed up

with this fellow chewing the fat about us basses.

- And haven't you been chewing the fat about us tenors?

- Oh, shut up, man.

What I want is more singing

and less talking in the Blaendy Choir.

I'm going through that Elijah chorus tonight.

See that you're all there at practice at 8:00 sharp.

- I'll be there.

- Yes, and so will I.

Stop gabbing then.

I'll be able to use all the voice you've got tonight.

Oh, Jim, tell my boy, Emlyn,

that I've gone on home, will you?

- All right, Dick.

- Like a lot of kids.

- My dad up yet?

- Aye. He's just gone on with Nick Evans and Seth Jones, arguing the toss.

What? Are they at it again?

I'm entitled to my say.

If the choir's no good, neither is the conductor.

- You wasn't man enough to say that when Dick Parry was here.

- I'm man enough for two Dick Parrys.

It'll pay you to

keep your mouth off Dick Parry.

It's all right, Em.

I'm attending to him.

- No, no, Nick. Don't bother with him, for he's not worth it.

- Not worth it?

- Why, you-

- Nick.

My turn now.

Hey, Dick.

What's wrong over by the pit?

Oh, a couple of them hotheads of mine

got stuck into each other.

Mam, there's fighting

over at the pithead.

Yes, and I wouldn't be surprised

if it wasn't that Emlyn of yours again.

- Oh, dear.

- Tsk, tsk, tsk.

Gwen. Gwen, come back here!

Go on, Em.

You ought to be ashamed of yourselves,

behaving like a pair of blackguards.

I don't see anything to laugh at either.

- I expect it was you started it.

- Not him. He couldn't start a toy train.

- Now, Emlyn.

- Go on. Take him off home to mother.

- Why, I'll -

- Em, please.

- That's a nasty cut over your eye.

- Oh, that's nothing.

Come across to the shop

for me to see to it.

You silly boy.

I'll give that fella such a plastering

before the night's out.

Drop it now.

- Thought you were taking me out tonight.

- I've got to attend choir practice, lovely.

- Well, the competition's only a month off.

- Yeah.

With choir practice,

mining classes in the night school -

If it isn't one thing it's another.

Never mind, lovely.

Everything's going to be all right soon.

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Herbert Marshall

Herbert Brough Falcon Marshall (23 May 1890 – 22 January 1966) was an English stage, screen and radio actor who, despite losing a leg during the First World War, starred in many popular and well-regarded Hollywood films in the 1930s and 1940s. After a successful theatrical career in the United Kingdom and North America, he became an in-demand Hollywood leading man, frequently appearing in romantic melodramas and occasional comedies. In his later years, he turned to character acting. The son of actors, Marshall is best remembered for roles in Ernst Lubitsch's Trouble in Paradise (1932), Alfred Hitchcock's Murder! (1930) and Foreign Correspondent (1940), William Wyler's The Letter (1940) and The Little Foxes (1941), Albert Lewin's The Moon and Sixpence (1942), Edmund Goulding's The Razor's Edge (1946), and Kurt Neumann's The Fly (1958). He appeared onscreen with many of the most prominent leading ladies of Hollywood's Golden Age, including Greta Garbo, Marlene Dietrich and Bette Davis. From 1944 to 1952, Marshall starred in his own radio series, The Man Called 'X'. Often praised for the quality of his voice, he made numerous radio guest appearances and hosted several shows. He performed on television as well. The actor, known for his charm, married five times and periodically appeared in gossip columns because of his sometimes turbulent private life. During the Second World War, he worked on the rehabilitation of injured troops, especially aiding amputees like himself. Marshall received a star on the Hollywood Walk of Fame in 1960. more…

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Submitted on August 05, 2018

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    "The Proud Valley" STANDS4 LLC, 2024. Web. 14 Jun 2024. <>.

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