21 Days
21 Days (also known as 21 Days Together) is a 1940 British crime drama film directed by Basil Dean and starring Laurence Olivier as Larry Durrant and Vivien Leigh as Wanda, his lover.[1][2] The story, adapted by Dean and Graham Greene from John Galsworthy's 1919 play The First and the Last, centers on Larry accidentally killing Wanda's blackmailing husband, leading to the wrongful arrest of an innocent man and a tense 21-day countdown to the trial and potential execution.[1][3] Produced by London Film Productions and initially shelved for three years before release by Columbia Pictures, the film runs 72 minutes and explores themes of guilt, love, and moral dilemma in a courtroom thriller format.[1][2] Notable for marking the second on-screen pairing of Olivier and Leigh—who were married in real life—the performances were praised by contemporary critic Graham Greene for their intensity, though he noted the production's theatrical style.[2] Supporting cast includes Leslie Banks as Larry's barrister brother, who urges him to remain silent to protect the family name.[1] Despite mixed reviews critiquing its stage-bound feel, 21 Days remains a significant entry in British cinema history, highlighting the era's dramatic sensibilities.[2]Background
Source material
21 Days is adapted from John Galsworthy's 1919 one-act play The First and the Last, which explores themes of justice, guilt, and moral conflict within the British legal system. Galsworthy, who won the Nobel Prize in Literature in 1932, critiqued societal and legal norms in his works. The play was first staged in 1920 and had a successful London production in 1921 directed by Basil Dean.[4]Development
The development of 21 Days (also known as 21 Days Together) began with its adaptation from John Galsworthy's 1919 play The First and the Last.[4] Director Basil Dean, who had previously produced a stage version of the play with his Reandean Company at London's Aldwych Theatre in May 1921, spearheaded the film project to bring the story to the screen.[4] The screenplay was co-written by Dean and novelist Graham Greene, who expanded the concise play into a feature-length narrative while preserving its core ethical dilemmas, marking Greene's first credited screenplay.[5][6] Producer Alexander Korda, head of London Films, acquired the rights and envisioned the project as a star vehicle for the rising couple Laurence Olivier and Vivien Leigh, who had begun a romantic relationship that year and were eager to collaborate on screen following their earlier joint appearance in Fire Over England (1937).[7] Olivier was cast as Larry Durrant, the conflicted lawyer, while Leigh secured the role of Wanda Wallen, Larry's lover.[1] Supporting roles, including Leslie Banks as Larry's brother Keith, were filled to complement the leads' chemistry, with Dean emphasizing the couple's real-life romance to heighten on-screen tension.[1] Pre-production emphasized psychological depth, drawing from the play's Nobel Prize-winning author's critique of the British legal system, though budgetary constraints at Denham Studios limited elaborate sets.[6] Tensions arose during development due to creative clashes between Dean, Korda, and the stars, whom Dean later described as insufficiently disciplined in his memoir Mind's Eye.[7] The film was completed by late 1937, yet Korda shelved it amid concerns over its quality, budget overruns, and the unproven box-office draw of Olivier and Leigh at that stage, opting to withhold release until their careers advanced further.[6] This delay transformed the project from a modest British drama into a timely showcase, capitalizing on Leigh's breakthrough as Scarlett O'Hara in Gone with the Wind (1939) and Olivier's Heathcliff in Wuthering Heights (1939).[8]Plot
Synopsis
Larry Durrant (Laurence Olivier), the ne'er-do-well younger brother of prominent barrister Keith Durrant (Leslie Banks), returns to London after failing in business abroad and soon begins a romance with Wanda (Vivien Leigh), a woman estranged from her husband, Henry Wallen. When Wallen unexpectedly reappears and attempts to blackmail Wanda, Larry confronts him at her flat, resulting in Wallen's accidental death during a struggle. Larry hides the body and initially plans to surrender to the authorities, but Keith persuades him to remain silent to protect the family from scandal, especially given Keith's rising political career.[1][9] Meanwhile, an innocent man, the down-on-his-luck former clergyman John Aloysius Evan (Hay Petrie), stumbles upon the scene and is arrested for the murder after being found with Larry's discarded gloves. Following Evan's arrest, Larry marries Wanda and the couple spends their 21 days together in secrecy, tormented by guilt and the moral dilemma of allowing an innocent man to be convicted, with Evan's trial three weeks away and the potential for execution. Larry must decide whether to confess and face the consequences.[1][10]Themes
The film 21 Days, adapted from John Galsworthy's 1919 play The First and the Last, delves into profound moral dilemmas faced by its characters, particularly the tension between personal ethics and societal expectations. At its core, the narrative examines morality through protagonist Larry Durrant's accidental killing of his lover Wanda's blackmailing husband in self-defense, forcing him to grapple with whether to confess his crime or remain silent as an innocent man is prosecuted. This choice underscores the conflict between individual conscience and the preservation of family honor, as Larry's barrister brother Keith urges concealment to protect their reputation.[11][3] Justice emerges as a critical theme, critiquing the rigidity and potential miscarriages of the British legal system in the early 20th century. The wrongful arrest and impending trial of a vagrant for the murder highlight how class biases and circumstantial evidence can condemn the vulnerable, while the privileged evade accountability. The story uses this to question the fairness of justice, portraying it not as an absolute but as a flawed human construct influenced by social hierarchies. The film's 21-day period—the time Larry and Wanda spend together before Evan's trial—intensifies this exploration, symbolizing a brief window for moral reckoning. While the source play ends tragically with the protagonists' suicide, the film provides a more hopeful resolution, emphasizing redemption within the legal system.[11][3] Love and guilt intertwine throughout, driving the emotional stakes of Larry and Wanda's relationship. Their affair, initially obstructed by Wanda's abusive marriage, blossoms into a poignant, fleeting union during the 21 days, marked by tenderness amid looming tragedy. However, guilt permeates their idyll, as Larry's internal torment over the killing erodes their happiness, illustrating how love can coexist with profound remorse. Wanda's unwavering devotion, expressed in her willingness to sacrifice everything for Larry, further emphasizes themes of loyalty and emotional dependency.[11] Societal pressures amplify these personal conflicts, reflecting Galsworthy's broader critique of Edwardian and interwar British norms. Familial obligation weighs heavily on Keith, who prioritizes professional and social standing over truth, revealing the hypocrisy embedded in class structures. The play and film collectively portray society as an antagonist, enforcing conformity that stifles individual agency and perpetuates injustice.[11][3]Cast
Principal cast
The principal cast of 21 Days (released as 21 Days Together in the United States) is led by Laurence Olivier as Larry Durrant, a dissolute young barrister who accidentally kills the husband of the woman he loves.[1] Vivien Leigh portrays Wanda, Larry's romantic partner and the wife of the deceased man.[10] Leslie Banks plays Keith Durrant, Larry's respected elder brother and an eminent barrister who provides legal counsel amid the crisis.[12] Francis L. Sullivan appears as Mander, the defense attorney handling the wrongful accusation.[1]| Actor | Role |
|---|---|
| Laurence Olivier | Larry Durrant |
| Vivien Leigh | Wanda |
| Leslie Banks | Keith Durrant |
| Francis L. Sullivan | Mander |