"Passion and innocence, and the real fire of insolence": what Guinness wants (per Kael) in The Horse's Mouth, he has precisely, and in spades, in Tunes of Glory, which may well be his finest role. He plays Lieutenant-Colonel Jock Sinclair, commander of a Scottish Highland regiment that has a proud war history and no idea what to do with itself in peacetime. Hard drinking, the wearing of kilts, the playing of pipes and the dancing of reels occupy Jock and his merry men until the arrival of a new colonel, Barrows (John Mills), puts the jollity into pathetic perspective. The military becomes the place where class divisions will out. Superseded by this Oxford-educated martinet, Jock goes into decline and at the same time, almost unconsciously, begins undermining the new commanding officer, with tragic results. The air is thick with the emotional fog of World War II, when "Hitler saw to all that" and the officers either had their day or languished as prisoners of war. For them, there may not be a post-war; as Barrows asks, tersely: "Who says I survived?"