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 »
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
This is the end of a glorious military career: General Leo Fitzjohn retires to his Sussex manor where he will write his memoirs. Unfortunately, his private life is a disaster: a confirmed ... See full summary »
Candy is a fetching unwed young lady with a penchant for pregnancy. Her adventures begin when she leaves her sheltered boarding school background for Paris. The result is the birth of Valentine nine months later.
Mario and Ana, in voluntary exile from Buenos Aires, live in a remote Argentine valley with their 12-year-old son Ernesto. Mario runs a school and a wool cooperative; Ana, a doctor, heads a... 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.
9 of 9 people found this review helpful.
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