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During World War I, Army Private Arthur James Hamp is accused of desertion during battle. The officer assigned to defend him at his court-martial, Captain Hargreaves, finds out there is more to the case than meets the eye.
In Nazi-occupied Paris, the immoral art dealer, Robert Klein, leads a life of luxury, until a copy of a Jewish newspaper brings him to the attention of the police, linking him with a mysterious doppelgänger. Will Mr Klein clear his name?
Summer 1900: Queen Victoria's last, and the summer Leo (Dominic Guard) turns thirteen. He's the guest of Marcus (Richard Gibson), a wealthy classmate, at a grand house in rural Norfolk. Leo is befriended by Marian (Julie Christie), Marcus' twenty-something sister, a beauty about to be engaged to Hugh (Edward Fox), a viscount and good fellow. Marian buys Leo a forest-green suit, takes him on walks, and asks him to carry messages to and from their neighbor, Ted Burgess (Sir Alan Bates), a bit of a rake. Leo is soon dissembling, realizes he's betraying Hugh, but continues as the go-between nonetheless, asking adults naive questions about the attractions of men and women.Written by
Director Joseph Losey tried to get this movie made in 1963, but couldn't secure financing. He tried again in 1968, with the same result. See more »
For a film partly set in 1952, many of the vehicles seen are of a much later period.
Including as Leo gets in his hire car at Norwich Thorpe station, a late 50's Ford Consul saloon and a BMC 1800 saloon from around 1969.
The village scenes include a 1962 Austin A35 van. See more »
Thank you very much Mr. Burgess, is there anything I can do for you?
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This movie is the third joint venture paring writer Harold Pinter and director Joseph Losey. The other two are The Servant (1963), and Accident (1967). This venture, combined with a top-notch cast, makes for a great film: No. 56 of the BFI's Top 100. Yet sadly, the movie has not been restored, in its original aspect ratio for DVD, and I had to see it on VHS in the full screen pan-and scan version.
I've a feeling that this is one of those films that MUST be seen in its original wide screen format, since the photography of the English countryside setting is crucial to the movie, and anything less does not tell the movie's whole story!
Michael Redgrave tells the story, in retrospect. It begins as a 12-year- old boy, Leo (Dominic Guard), comes to spend the summer of 1900 at a large English country estate. He is a guest there, and his relationship to the family is never made clear. We don't learn much about his background except what we overhear: that his mother is a widow from the city. As he is introduced at the family dinner table, he tells them that he knows magic and has conjured up curses on people, but this seems a game between him and the other boy his age on the estate, Marcus.
As the two boys play, the rest of Marcus' family starts to emerge as Marcus tells Leo about them while pointing them out. We view their lazy hot summer's life as they attempt to occupy themselves with conversation, nature, art, culture, and games. Leo attempts to fit in with the family led by its matriarch, Mrs. Maudsley (Margaret Leighton). Leo also becomes attracted to Marus' older sister, Marian (Julie Christie), and develops a puppy love for her. (At one point he proclaims that he would do almost anything for her.) She, in turn, shows an admiration for him.
One day as the family goes out for a swim, they encounter their lower- class neighbor, Ted Burgess (Alan Bates), who is trespassing on their property by swimming in their lake. Leo later meets Ted and is gradually taken into his confidence. At Ted's coaxing, he starts to secretly deliver notes to Marian, and she, in turn, returns notes to Ted, through Leo.
Feeling 'out of the loop,' Leo wants to know more. He eventually asks Ted to tell him about sex ('spooning'). At almost thirteen and with no father to guide him, Leo has never been told the facts of life. Yet, he senses that he should know more and that Ted will explain it to him-- though he never really does. When Marian becomes engaged to an upper- class gentleman, Ted seems displeased. However, after a brief break off in communications; Ted and Marian begin their secret exchanges again with Leo still acting as their dutiful Mercury-like 'go-between.' Then, on Leo's thirteenth birthday, he suddenly learns the shocking nature of his carried missives.
This film, accented by Michel Legrand's score, has a mysterious, almost Gothic, feel about it. There seems to be something always missing, just out of view, waiting to be discovered. But, just as Leo is never made part of the secret, neither is the audience--until the surprising ending.
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