Graham Weir is an alcoholic schoolteacher whose criminal record for refusing to fight during the Second World War has prevented him from progressing further in his teaching career. He is ... See full summary »
Dr Calgary returns home from an expedition and goes looking for a hitchhiker whom he gave a lift to two years previously in order to return the man's address book. He discovers the man has been executed for his mother's murder.
In England, the times are a changing: it's mods and rockers. On the day Nancy gets off the London train, cases in hand, looking for the YWCA, Colin has had enough of missing out on the ... See full summary »
The venomous and amoral wife of a wealthy architect tries, any way she can, to break up the blossoming romance between her husband and his new mistress; a good-natured young widow who holds a dark past.
Brian G. Hutton
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Three vignettes of old Irish country life, based on a series of short stories. In "The Majesty of the Law," a police officer must arrest a very old-fashioned, traditional fellow for assault... See full summary »
John Sawyer, once an eminent barrister, has slid into a life of cynicism and drunkenness since his wife left him. When his daughter's boyfriend is accused of murder, Sawyer decides to try ... See full summary »
A polished film. A sweet, melancholic, romantic tale
I enjoyed this film. The black and white photography was very smooth and pleasant. The opening credits were quite impressive too; the photography reminding me distinctively of the TO KILL A MOCKINGBIRD opening. The wind music score that re-appeared throughout the film was quite beautiful as well.
Sarah Miles plays Cass Langdon - a well-mannered free spirit, wanderer-type
who, after a fight with her conservative, upper-crust husband, returns
to the sleepy, old Irish seaside township of her birth. Her Londoner, "ordered and settled" husband who "was not brought up in such an Irish bog!" is soon on his way to the village to persuade her to come back away with him. For Cass, this trip back to her homeland is a period of convalescence. Much of the film is spent in flashbacks, remembering her childhood sweetheart Colin, her uneasy marriage with Matthew, and the time she spent abroad in London before meeting him.
For the most part these flashbacks are done without dissolves - which is good, because if used they would most definitely have compromised the artistic nature of the non-linear story telling. There's a very good use of close ups, and the dolly work also helps the photography. It's also good to see no rear projection - particularly in the scenes with the cars or bicycles - which is so prevalent in other British films in the early 60's.
8 of 8 people found this review helpful.
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