Quartet (1948)

Quartet 1948 Maugham.jpg

An anthology film adapted from stories by W. Somerset Maugham, with four episodes: The Facts of Life.  Mr. and Mrs. Garnet (Basil Radford and Angela Baddeley) allow their promising tennis player son, nineteen-year-old Nicky (Jack Watling) to travel by himself to Monte Carlo to compete in a tournament. Mr. Garnet gives him some advice: never gamble, never lend money, and don’t have anything to do with women. Naturally, Nicky ignores it all … Directed by Ralph Smart. The Alien Corn. On George Bland’s (Dirk Bogarde) twenty-first birthday, his aristocratic father (Raymond Lovell) asks him what he intends to do with his life. George’s answer is incomprehensible to his entire family: he wants to become a concert pianist and he goes to Paris to train for two years … Directed by Harold French. The Kite. Herbert Sunbury (George Cole) marries Betty (Susan Shaw), despite his overly involved mother’s (Hermione Baddeley) dislike for the woman. The newlyweds are happy, except for Herbert’s lifelong enthusiasm for flying kites … Directed by Arthur Crabtree. The Colonel’s Lady. A colonel’s (Cecil Parker) mousy wife (Nora Swinburne) writes a book of poetry under a pseudonym, but is unmasked by the papers and his mistress tells him that the saucy work must have been inspired by his wife’s real-life affair … Directed by Ken Annakin… The strength of this compendium of post-war stories lies in Maugham’s usual powers – themes of morality and irony unravelled in tales of poor parenting and lack of communication within marriage. There are some amusing and tragic incidents performed by a terrific cast of great British names with Maugham himself introducing each segment. Adapted by R.C. Sheriff. A classic of its kind.

The Damned (1969)

The Damned.jpg

Aka Caduti degli dei or Götterdämmerung. It does no good to raise one’s voice when it’s too late, not even to save your soul. Wealthy industrialist family the Essenbecks have begun to do business with the Nazi Party.  The family patriarch Baron Joachim von Essenbeck (Albrecht Schoenhals) is murdered on the night of the Reichstag fire and the anti-Nazi vice president of the company Herbert Thalmann (Umberto Orsini) is framed. His wife Elizabeth (Charlotte Rampling) and their children are taken by the Gestapo. The family’s empire passes to the control of an unscrupulous relative, the boorish SA officer Konstantin (Reinhard Kolldehoff). Waiting in the wings are his son Günther (Renaud Verley) a sensitive and troubled student, and his nephew Martin (Helmut Berger), an amoral deviant playboy who molests his young cousin as well as a Jewish  girl. Martin is dominated by his possessive mother Sophie (Ingrid Thulin) the widow of Baron Joachim’s only son, a fallen WW1 hero. Friedrich Bruckmann (Dirk Bogarde) an employee of the family firm and Sophie’s lover, ascends in power despite his lowly social status, thanks to Sophie’s support and the SS officer and family relation Aschenbach (Helmut Griem) who pits family factions against each other to move their steel and munition works into state control … This is the secret Germany. Nothing is lacking. The dissipation of a wealthy German dynasty becomes an arc for the destruction of Germany and the rise of Nazism:  offset by a backdrop of decadence and perversion, Visconti’s operatic portrait of society gone rotten makes him the principal chronicler of that history in an Italian-German co-production. The cast is stunningly gorgeous – just look at Rampling! – enveloped in the exquisitely accessorised sets. The startling cinematic arrival of the equally lovely Herr Berger (who was seen briefly as a waiter in Visconti’s segment of Le streghe) in full drag as Marlene Dietrich in The Blue Angel is not to be quickly forgotten;  nor his incestuous sex scene with his mother. He embodies the narcissistic amorality at the core of the work which despite its luxuriousness is a critique of bourgeois collaborators standing by while their country is jackbooted. It is an explicitly Freudian work and transformed Bogarde into a European star. Written by Nicola Badalucco, Enrico Medioli and Visconti, this is the first of what is known as the director’s German trilogy, comprising Death in Venice and Ludwig, collectively a subjective account of that country’s terrible history told in devastating, beautiful imagery. Hugely successful and influential in its day, despite the horrors, you will gasp and swoon in equal measure at the shocking sumptuousness. Nazism, Gunther, is our creation. It was born in our factories, nourished with our money!

Once a Jolly Swagman (1949)

65941-once-a-jolly-swagman-0-230-0-345-crop.jpg

Aka Maniacs on WheelsNow listen, you little flash boy, I’m getting tired of you and your attitude. In late 30s Britain Bill Fox (Dirk Bogarde) is a bored factory worker who loses his job and starts winning speedway competitions. He meets glamorous society woman Dorothy (Moira Lister) who introduces him to a new and exciting social circle and Bill quickly forgets his working class roots, changing his image and his loyalties. But when his brother is off fighting in Spain, distressing his mother (Thora Hird), he finally comes to his senses and eventually becomes disillusioned with the Mayfair scene.  He marries Pat (Renee Asherson) the sister of his Aussie team mate, Lag Gibbon (Bill Owen). He tries to form a riders union to ensure families are financially secure should an accident occur on the track, which angers his sponsor Rowton (Sid James). Pat tries to get Bill to pack up racing and open a garage, but Bill refuses and she leaves him. WW2 arrives and Bill enlists as a motorcycle despatch rider but after the years of conflict, Bill is left with a dilemma, should he make a racing comeback or go straight and get back together with his one true love? When they meet at a solicitor’s office it’s to discuss a divorce  …. They want to see you swept up into little piceces. Bogarde was in just his second film and was already creating a unique screen persona in the realm of British cinema if he doesn’t have quite the technique yet to make this work.  This unusual melodrama has a gritty feel in the motorcycle sequences (director Jack Lee was a documentary maker) but it doesn’t hold up as a class analysis, which is the other side of the narrative.  Adapted by William Rose (with contributions from Lee and additional dialogue by Jack Clifford) from the novel by Montagu Slater, it becomes a kind of study of masculinity, before, during and after World War 2 and Bogarde’s Bill Fox evolves, becoming a vector for a kind of political consciousness. The sight of Bogarde with a dodgy spiv-like moustache when he’s mingling with the upper classes and decked out in a trenchcoat is something to behold, but so too is his wedding breakfast later, when he makes a pro-union speech, ensuring alienation from Rowton. His physicality is probably the most fascinating aspect of this early star performance although his well-educated accent doesn’t add up. The business side of this sport does not come off well in the story nor does it flinch from the dangers of track racing, with a nasty accident filmed with as much detail was was possible (or permissible) and the effects on Lag’s mental health held to account when he winds up brain-damaged and ‘nervous’ at a psychiatric hospital. Fox’s attempts to find gainful employment after the war must have struck a chord with many men returning from combat. There are interesting performances here with Hird doing a great job as Ma Fox, even if she’s decades too young, Cyril Cusack playing fellow soldier Duggie Lewis and Bonar Colleano as the decent American on the scene (that accent!). An intriguing entry in British cinema and a must for Bogarde completionists.  The title of course comes from Waltzing Matilda, which is used as a cue in Bernard Stevens’ score. Produced by Ian Dalrymple. How do you like it out there in the rain?

Esther Waters (1948)

Esther Waters poster.jpg

Esther Waters (Kathleen Ryan) is the maid at a big house where she is seduced by handsome footman William Latch (Dirk Bogarde) – but when he disappears with another woman Esther finds herself pregnant. She leaves for home but her mother is dead and she gives birth alone in a workhouse in Lambeth. Returning to service her childminder offers to kill her baby boy Jackie for a fiver. A kindly policeman helps her and then she meets a nice vicar, Fred (Cyril Cusack) who romances her. When William spots her on a tram however she allows him see her now six-year old son.  He’s a bookmaker with his ex long gone after his forays in Europe. Fred wants to marry her but she protests I’m a woman too and we know her sexual desire for William is overwhelming. It’s quite a moment in a British film of the era. She and William marry and she has to get over her disdain for his profession of gambling – until he falls mortally ill and she must enter the world of risk. The first section of the story is quite visually inventive with a particularly nice moment happening in silhouette. Bogarde is an excellent and louche romantic lead in his first such role. Then it descends into a social problem tract as Esther gets the Dickensian treatment in the city after her abandonment. Their reunion is as a fairly average married couple when he purveys his business – until medical issues twist everything … So the film both in terms of content and style works naturalism and melodrama into the fashion of the post-war period.  Ryan is very good in a complex role, never turning on the tears despite her desperation but it really works best when that attractive man Bogarde is front and centre. There’s a terrific climax at the Derby.  Adapted from George Moore’s novel by Michael Gordon and William Rose with additional dialogue by Gerard Tyrrell. Directed by Ian Dalyrymple and Peter Proud.

The Blue Lamp (1950)

The Blue Lamp theatrical.jpg

An inordinately popular crime drama that begat Dixon of Dock Green, the long-running TV show – despite the fact that Dixon (Jack Warner) is killed by ambitious thug Tom Riley (Dirk Bogarde) while he tries to reason with him during the robbery of a cinema.  Basil Dearden was directing from a sharp screenplay by T.E.B Clarke, who adapted a treatment by Jan Read and Ted Willis (of TV fame). There was additional dialogue by Alexander MacKendrick. This was the rather parochial but BAFTA-winning production that earned the ire of critic Gavin Lambert writing (pseudonymously) in Sight & Sound of its “specious brand of mediocrity.”  And it’s certainly true that it cannot hold a candle to the noirs coming out of Hollywood at the time. Nonetheless, its value lies precisely in the cosy post-war vision of England being promoted by Ealing Studios, the documentary approach, the narrative style of interlinking stories, Bogarde’s startling impact as the glamorous crim and the lush photography of London by night shot by Gordon Dines. How wonderful to see Little Venice, the White City dog track, Paddington and the dazzling lights of the West End. Mmmm… Look out for Anthony Steel as a constable.

A Bridge Too Far (1977)

A Bridge Too Far poster.jpg

Fool’s courage. Operation Market Garden was the code name for the failed attempt to take the bridges around Arnhem in Holland as winter drew in during 1944. The Allies led by Montgomery and Eisenhower had the idea to power through to the damaged German factories on the Ruhr – and a combination of bloody mindedness, poor planning, bad luck and bad weather made it a pretty disastrous sortie and certainly did not end WW2 as anticipated.  The great Irish writer Cornelius Ryan’s stonking blockbuster books about the era yielded this (published in 1974) and Darryl F. Zanuck’s independent production The Longest Day (1962) and his brilliance as a journalist and investigative historian have cleared up a lot of myths about certain WW2 events, this not being the least of them. Both films have an A-Z list of stars in common but Richard Attenborough was the sole helmer here and William Goldman adapted the book, published in 1974.  General Browning (Dirk Bogarde, a real life WW2 soldier) is the man poised to lead Montgomery’s plan but when a doubting Private Wicks (Paul Copley) carries out an extra recce and supplies him with photos of concealed armoured German tanks in the area where the landing is planned he has him put out on sick leave. Bad idea. With seven days’ notice the paratroopers, infantry and air service both US and UK are sent in. It’s well set up with the Dutch underground – a father and son carry out some spying for the Brits on the Nazis assembled in the area – and the putting together of a team of doubting Thomas Allies with Sean Connery in particular being given some great moments as General Urquhart – confessing to air sickness before takeoff;  landing in a forest where the lunatics from the local asylum are literally laughing at him;  and in a lovely touch and a symmetrical moment after the disaster has happened, arriving at Browning’s Dutch HQ being greeted by geese – who are clearly laughing at him too. That’s good writing. Never mind the naysayers, and there have been a lot over the years amongst the critical posse, who probably wish this had had a very different outcome (don’t we all):  this is fiercely exciting, mordantly funny and has memorable moments of sheer bloody minded bravery, not least when James Caan pilots a jeep through a Nazi regiment with the body of a young captain he has promised he wouldn’t let die. If you’re not cheering at this then you’re not breathing, mate. Maximillian Schell is terrific as the German General who applauds his opponents’ courage and hands Anthony Hopkins a bar of chocolate upon capture. After he’s given the order to raze Arnhem. Thrilling, splendid and a history lesson we still need to learn – bad project management, not heeding early warnings and then stopping the Poles from parachuting in because of fog when it was too late to rescue those poor men who were being slaughtered by the thousand. And those bloody radio crystals. Why’d they bring the wrong ones when the drop zone was eight miles from the river? Sheesh. Exciting as hell. And with a bigger body count. Fantastic, with every Seventies star you could wish for, be they given ever so little but with a special mention to little known Paul Maxwell and Erik Van’t Wout. There is an absolutely iconic score by the great John Addison:  hear it and you know exactly where you are. What a shame Ryan didn’t live long enough to see it:  he died two months after the book was published. What a gentleman and scholar he was. His contribution to our knowledge is immense. Just the thing for a rainy summer’s day when you should be watching Wimbledon but they shunted it back by a fortnight. Again.

Hot Enough for June (1964)

Hot Enough for June poster.jpg

Aka Agent 8 3/4.Dirk Bogarde is a louche unpublished London writer who happens to speak Czech so he’s whipped off the dole queue by British Intelligence and winds up hapless in Prague, trying to bring back a coded message he doesn’t understand, not even realising he’s been hired as a spy. This breezy spoof was one of many films riding on the coat-tails of the James Bond phenomenon and the versatile Bogarde is perfect in a role originally intended for Laurence Harvey, in this colourful mix of homage, pastiche, satire and romance, with buckets of tension as he eventually makes a connection in the Gents’ at a glass factory and makes out with the gorgeous Sylvia Koscina (making her English-language debut) who conceals her role for the secret police. There’s great byplay between spymaster Robert Morley and his opposite number, Leo McKern, and some wonderful dressing up as Bogarde tries to get back to London in one piece. Great location photography (in Padua, since the Cold War was ongoing!) by Ernest Steward distinguishes this attractive time piece. Adapted from Lionel Davidson’s The Night of Wenceslas by Lukas Heller. Directed by Ralph Thomas and produced by Betty Box, this was one of the later of their thirty-plus collaborations.

For Better, For Worse (1954)

For Better For Worse movie poster.jpg

Dirk Bogarde often bemoaned the quality of the films he was obliged to do and this was one of those time-fillers, the story of a pair of broke newly weds in a one-room modern flat. He and Susan Stephen (soon to be the wife of DoP then director Nicolas Roeg) do their best with thin material and the jokes are about the plumbing, the furniture and of course the stresses of waiting for the creditors to arrive. She’s the daughter of well-to-do Cecil Parker who arrives in the nick of time to pay up. Rather like Barefoot in the Park without Neil Simon’s incisive writing. There is however some really nice colour cinematography by Guy Green, making London like bright as a button and the delightful Dennis Price is at hand as an enervating neighbour. Look out for the wonderful Peter Jones and Thora Hird down the ensemble. Adapted from Arthur Watkyn’s popular play and directed (Ripley’s here) by J. Lee Thompson. Notable for a light musical score by transgender composer Wally Stott  (who became Angela Morley).

The Night Porter (1974)

The Night Porter poster.jpg

We’ve all had our trials. Now we are cured and live in peace with ourselves. The infamous S&M movie about a Nazi (Dirk Bogarde) who posed as a doctor in a concentration camp to take salacious photographs and the young inmate (Charlotte Rampling) with whom he developed a kinky relationship:  they meet by chance in a hotel in Vienna 12 years after the war has ended. He is about to go into a mock trial with his fellow abusers and they find out that the girl, now the wife of a conductor, could be a witness. He and the girl resume their relationship … Max is more than just the past. And therein lieth the knotty problem. We know about the Nazis in our midst, they continue to holiday around Europe in a self-congratulatory orgy  in destinations such as Alicante and Portofino annually, according to Jonathan Freedland. And we found out in the 70s how they organised, thanks to Frederick Forsyth. And there are a fair few of them and their descendants in Argentina, Brazil and Chile. We are loath to admit it, but we also know that they were reabsorbed into German life post-WW2 and the only people who lost their State pensions were anti-Nazis in a regime funded by American money (so much for nation re-building). We also know that Hitler’s backup plan – the Fourth Reich, as it were – was a European economic union governed by Germany. That’s the revolting European reality:  tell that to PIGS. We rest your case. So why does this explicit linking of pornography, violence and Nazism exert such a negative critical energy? Precisely because it is personalised. It is given a name, or rather, two: Max and Lucia. And like it or not, howsoever it was forged, they love each other. Yes, it’s sick. But in that sickness is revealed a truth about human survival. It is also indicative of a truth about every relationship – it’s about power. And control. Director and writer Liliana Cavani took a lot of heat for this but she remains a notable filmmaker and this is a testament to bravery, if nothing else. And Bogarde is fantastic in a deeply troubling role. Rampling was so young and beautiful – she does everything she can. And they must have trusted each other greatly to shoot those scenes together. Screenplay by Cavani & Italo Moscati, with collaboration by Barbara Alberti & Amedeo Pagani from a story by Cavani, Alberto & Pagani. That’s why you’re here, fishing up the past

They Who Dare (1953)

They Who Dare movie poster alt.jpg

Operation Anglo is the subject of this screenplay by novelist Robert Westerby. It’s the story of six Special Boat Service men plus their local guides as they land on the Dodecanese in the Greek Islands with orders to blow up two German airfields. Loyalties are compromised, tempers fray and men are captured. At the end just two have kept going and  the tension is nigh-on unbearable:  Denholm Elliott screams at Dirk Bogarde, “I hate you for never giving up!” This is not great WW2 drama but it’s pretty damn good and Lewis Milestone makes particularly good use of the beautiful landscape.