Der letzte Sündenfall

I cannot praise THE RAKES PROGRESS too highly. It has a witty script, extremely fine performances, a good William Alwyn score (including the famous Calypso he wrote for the film), good-looking sets by Norman Arnold and handsome cinematography by Wilkie Cooper. It told a good story as well.

Yes, Rex Harrison was quite a bounder. At the time of the film's release some critics were disappointed in how the character's life suddenly changed at the film's end - a valid objection which, had the script inserted at least one "transitional" episode, might have made it more believable. However I find this a minor point, having taken great pleasure in such a beautifully made production. It gave Harrison a good opportunity to widen his acting range considerably. Hitherto only light comedy roles were offered him but in RAKE'S PROGRESS we see some serious sly villainy. It was this performance that took him to Hollywood, by the way. A special bouquet to Lilli Palmer for another sensitive, touching performance. She was, without doubt,one of the finest actresses on the screen.

Highly recommended.

Notorious (1945) by Sidney Gilliat is a great black and white romance, Rex Harrison and Lilli Palmer's performance as the stars of this film really blew me away. The camera work was excellent along with the lighting techniques used.

Personally I dislike black and white films, however this film had a very modern approach to it and that was able to keep me interested throughout the length of the film. (I would still prefer to see this movie in color!)

Overall, this is a great film and I would recommend it to anyone who likes black and white romances.

Frank Launder and Sidney Gilliiat utilised Rex Harrison's roguish charm to good effect in the rather lightweight 'Constant Husband' in 1955. Here we are ten years earlier with what is probably their best film and certainly one of Harrison's best performances. His plays Vivian Kenway, a man who is not exactly a jackpot of admirable character traits being a dissolute wastrel and spendthrift. Unlike the Rake in Hogarth's engravings of 1735 he does not descend into madness although at one stage it looks as if he might but redeems himself as a war hero. Although throughout most of the film Kenway's behaviour is reprehensible one cannot bring oneself to dislike him which is surely a testament to Harrison's portrayal. One has a sneaking admiration for his devil-may-care, something will turn up attitude and as for his success with women, it takes two to tango. The three principal women in his life are very contrasted.'It' plus 'It' equals 'chemistry' and that between Harrison and his then wife, the superlative Lilli Palmer, is there for all to see. Margaret Johnston is splendid and no one does 'flighty' quite as well as Jean Kent. Mention must be made of Godfrey Tearle's beautifully understated and moving performance as Kenway Senior. Needless to say some supposedly amoral scenes were trimmed for American audiences. The assertion by Gilliat that the film's title was changed to 'The Notorious Gentleman' so that Americans would not mistake it for a picture about gardening sounds too absurd to be true but I see no reason to doubt him! Kenway's character is essentially a microcosm of the type that thrived in the 1930's for whom the outbreak of war proved a death knell. This super film not only entertains but also captures an era. Rex Harrison's personal life was 'dramatic' to say the least and although one should not make a habit of confusing an actor with the parts he plays, it is interesting that Alexander Walker entitled his biography of Harrison 'Fatal Charm'!

Rex Harrison plays a young man, Vivian, who thinks primarily of himself. He's somewhat witty, sort of daring, extremely unreliable. Though his character is tempered slightly as time goes on, as written the character is very obnoxious.

I didn't go to Oxford, as Vivian does for a time. But I went to an Ivy League school and I knew many people like him: showoffs who thumbed their nose at convention but wanted, and generally had, the money convention brings. I was transported back not just to the time of the film but also a few decades back to the wise guy cutups of my own college years.

Harrison does a good job. Indeed, he seems to be playing himself, though that was doubtless just fine acting. I like him in most of what I've seen, particularly in "Anna and the King of Siam" and the brilliant "Unfaithfully Yours." The rest of the cast is superb, too: His real-life wife of the time, Lilli Palmer is very charming. Playing an Austrian girl, she reminded me of Luise Rainer, sans music. Griffith Jones plays his ostensibly more stuffy friend. To me, he is infinitely more appealing in all regards. And Margaret Johnston is beauty and charm itself as Vivian's father's secretary.

It would be interesting to show this on a double-bill with "Look Back in Anger." That was written as an antidote to the "mustn't forget about tea" movies and especially plays that had preceded it.

Yet Jimmy Porter, its protagonist, comes across today just as badly as Harrison's character does. The acting in that film, too, is marvelous. But at the core of each is a character who is not just a boor: Jimmy and Vivian are really creeps, though we are not intended to think them so.

It is never an easy thing to watch a cad and bounder on film for 2 hours and come away feeling satisfied. But his film manages to do that because of it's wit and wonderful cast. Harrison is superb and Lili Palmer is at her very best. I had not seen this for 65 years and yet I remember it as though it was last week. One very odd goof in the film takes place in a car with Rex being driven by the character Jenny. He opens the door to get out before the car stops. He exits while the scenery goes whizzing by. One might expect to see him in a heap on the sidewalk. All in all, a lovely film with nice light touches and some very serious drama. GOOD SHOW