Aka The Loss of Innocence. Tinker tailor soldier sailor rich man poor man beggar man thief. Left alone because of their mother’s sudden hospitalisation at the start of a family holiday in France, four British children have to fend for themselves. They stay at an elegant hotel booked by their mother in advance, where, despite the reticence of owner Madame Zisi (Danielle Darrieux), they are befriended by her English lover, the mysterious Eliot (Kenneth More). Sixteen-year old Joss (Susannah York), the eldest of the children, runs afoul of Madame Zisi, who thinks Eliot is spending too much time with her and causes a scene. Thirteen-year old Hester (Jane Asher) is shocked when Eliot reacts violently as she attempts to take his photo while he takes them sightseeing. He is forced to abandon early their trip to the caves at Champagne when France’s best policeman M. Renard (Raymond Jérome) shows up. As Joss deals with her burgeoning attraction to Eliot, handyman Paul (David Saire) becomes attracted to her. When Zisi lashes out at young Joss, whom she believes Eliot loves, Paul takes advantage of the situation and gets Joss drunk and the aftermath unleashes her own jealousy … If this is how grown ups feel they’re worse pigs than I thought. Sensitively adapted by Howard Koch from Rumer Godden’s novel, this is a lovely portrait of adolescence, with the gorgeous young York very convincing and blossoming as an actress right before our eyes in a nicely mounted production whose sole flaw is rather fatal – the miscasting of More, nobody’s idea of a romantic enigma, still less a jewel thief of some renown. This is such an interesting story typical of Godden’s work – of the different worlds occupied by children and adults, of jealousy, of misunderstandings: when Paul tries to explain to Hester that hotel manager Madame Corbet (Claude Nollier) is also jealous of Eliot’s relationship with Zisi he realises she does not understand Lesbianism; Joss deeply resents Eliot calling her a child and it is that which triggers the disastrous conclusion; the final shots, which imply that even now, after her sudden transition into womanhood, Joss doesn’t fully comprehend what she has done. Everyone seemed to agree that the role of Eliot should really have been played by Dirk Bogarde, but it wasn’t and More wanted it desperately and he’s all wrong. His scenes with York are uncomfortable. Still, there are other pleasures to be had in this atmospheric depiction of a heavy summer, not least seeing Bessie Love, the great silent star, in a small role as an American tourist. Directed by Lewis Gilbert.