When the great directors of film are named these days, the incomparable Carol Reed is rarely mentioned. He has been completely surpassed in the public esteem by his British contemporary David Lean. After the success of Reed's English films, a period which began in 1940 with the coal-mining film "The Stars Look Down" and ended with "The Outcast of the Islands" in 1954, the director was discovered by the big Hollywood studios; he went on to direct a number of big-budgeted Technicolor international productions -"Olivier," "The Agony and the Ecstasy," and "Trapeze"all of which he handled with consummate professionalism, but somehow their box-office success unfairly diminished his reputation with the critics. He is perhaps best remembered today for "The Third Man," which many people erroneously think Orson Welles directed. Although Reed's early films were shot in London films studios and on location all around the word, they remain quintessentially British in understated mood and attack --B&W films made in collaboration with the best expatriate talent that had gathered in London during the war years. ("The Fallen Idol" is photographed by the French cinematographer Perinal, the Jugoslavian editor Hafenrichter, and the Hungarian set designer Vincent Korda.) Reed at his best has the unique ability to portray the most complex of human relationships with voices lowered; witness how masterfully he directs the detectives and suspects in the final reels of this superb film.
Review of The Fallen Idol
