Der Verdammte der Inseln

I am a big fan of THE THIRD MAN, I think it is one of the seven greatest movies ever made, I liked ODD MAN OUT, and also liked Reeds earlier effort of THE FALLEN IDOL. His latter film, THE KEY, while not being totally successful in my eyes in a good film, and an even better film is OUR MAN IN HAVANA. So I was excited about seeing this film. Perhaps if I was more patient, had seen this in a movie theater as it was meant to be seen, and did not have the benefit of a remote control for a VCR, I would have liked it more.

Everyone has said how great Trevor Howard is. I have also liked him in staring roles like Brief Encounter, Clouded Yellow, but here, even though he has some great moments, more towards the end of the film, I somehow feel he has been miscast. In one of the opening scenes, when he leaves the Billiards club, I felt I was watching Howard Imitating Orson Welles from THE THIRD MAN. if Reed and Welles could have formed a partnership, and that might have actually been from ODD MAN OUT, I think he would have been a better choice, though I'm sure they couldn't get him. One of the problems with his character is, that we realize right from the beginning what a jerk he is, and their fore, we never really care about him. This film would have worked better for me if I would have liked this guy in the beginning. Welle's Harry Lime, was a likable character, even though he was not a good man. Bogarts Harry Dobbs in Treasure Of the Sierra Madre works because we care about him in the beginning, and are sad to see his mental destruction. Howard's character elicits no such feelings, and for me this is one of the major failings of the film, and why this film has not received the accolades of Reed's previous three films.

I found Ralph Richardson's performance hammy, I just could not buy him as a captain, appeared to be a poor makeup job, and since we don't see him much, (He ironically got top billing), he does not appear to be important to this story, even if he gives the final denouncement. I also disliked George Courlouris (did I spell that right) as a native. Since they filmed this in Ceylon, they did not need an actor doing a role in black face.

Robert Morley is excellent in this film however. Those people who have always looked upon him as that jolly Englishmen who did those British Airline commercials, or seen him in other films, will get quite a revelation in this film. He is the one standout in this movie. One can just imagine how his daughter might turn out having a father like this. His character, while perhaps not being the character that Howard's character is, just oozes slime, would you want a father like this, and his acting makes the most of it. Wendy Hiller is alright as the suffering wife of Morely, and they should have made more of what I thought might have been her lust for the Howard character, while Howard's character lusts after the native woman, who, played by an actress named Kerima, who is supposed to have been born in Algeria, almost looks like an English actress given a darker skin tone, though probably not.

Reeds direction at the beginning of this film is unimaginative, I was quite disappointed with the back screen shots that were employed considering the location photography, and I always remember his great cinematography from his other films (Love that tilted camera). However never has lust been filmed so amazingly in an early 1950's movie, (British at that), here Howard is quite good, and the shots of Kerima, our realizing that she does not love this man and may have ulterior motives, in closeup, without Howards knowledge are well done. The last two climactic sequences, with Morely and Howard in a sequence that seems to predate Cornel Wilde's THE NAKED PREY, which probably sent shock waves in cinema's of the early 1950's, and the sequence at the end between Howard and Richardson are two very memorable moments from this film.

If the film comes out on DVD, with some interesting extras, a good audio commentary, I would be interested to see it again, and Hopefully get some further insight that might change my mind. However, of the six movies I have seen of Director Carol Reed, This is my least favorite.

I remember making an occasion of my 50th "user comments" by electing to write about a film that I found rather special, Carol Reed's "The Third Man". I concluded those comments by saying that I would take the opportunity to write about Reed's one remaining great film, "Outcast of the Islands", as my hundredth contribution, so here goes. We had left school by the time "Outcast" appeared so opportunities for quizzes during breaks no longer existed. Instead a group of us would visit the cinema together once a week and when walking home would give each other a slot of about ten minutes in which to extemporise a criticism of what we had just seen. This would certainly have been our "Outcast" game as we devoured everything Reed gave us. He was in fact our God. Although much of his work now seems a little dated and I am not at all sure that "Odd Man Out" or "The Fallen Idol" are quite the masterworks that we thought they were at the time, critical acclaim seems undiminished for "The Third Man". This has never been quite the case with "Outcast" although it found a great devotee in Pauline Kael who described it as "a marvellous film". It is a work that grabs you from the very first shot of a seething mass of natives and even an elephant on a dockside in the Far East and sweeps you forward with its tremendous pace and the director's sheer love of bravura cinema. It doesn't quite conform to any of the conventional genres being hardly an adventure thriller, a romance or a tragedy and yet it has elements of all three. I suppose one would have to call it high melodrama, a film, epic in its detail and scope yet more concerned with integrating its vast gallery of images of local colour into its narrative than bursting into big set-pieces of action. Films about anti-heroes have never had great box office success, much less those where the anti-hero is weak through and through. Was it this that doomed Wyler's greatest film "Carrie" to near oblivion and was partly the reason for the neglect of "Outcast of the Islands"? And yet to ignore Trevor Howard's marvellous portrayal of Joseph Conrad's pathetically inadequate Willems would be to pass over one of British cinema's finest performances. And then there is that great actor Ralph Richardson as Captain Lingard whose Achilles heel is the misplaced trust he places in Willems. His portrayal has been seen as over the top by some but I would defend it to the hilt for its quality of Shakespearian declamation that is all part and parcel of Reed's directorial style. So often during his work of this period he shoots his scenes, particularly those between two characters, as if they are taking place on a huge theatrical stage. They shout at each other across large spaces, an effect that gives such scenes tremendous strength and resonance. The final sequence of "Outcast" between Howard and Richardson where they employ this device during the sudden outbreak of a tropical rainstorm is so powerful it has haunted me for years. It is possibly the single greatest scene in all Reed's work. Although he managed to retain his uniquely individual style of cinema throughout the subsequent "The Man Between" and the early part of "A Kid for Two Farthings", he was working with much less interesting scripts. That he ultimately lost even his stylistic fingerprints in later works such as "The Agony and the Ecstasy" and "The Running Man" is one of cinema's greatest tragedies.

Although he made a handful of worthwhile films before them and won a competitive Oscar much later, Carol Reed is still most admired for his immediate post-WWII work: ODD MAN OUT (1947), THE FALLEN IDOL (1948), THE THIRD MAN (1949) – all of them BAFTA winners – and the movie under review. The latter is the least-seen and least-regarded of the lot (perhaps because there are very few sympathetic characters in it!) but emerges a remarkable achievement nevertheless, with the director's sure hand more than evident in several striking sequences throughout. It features a great cast, all of whom deliver splendid performances: Trevor Howard (second-billed but clearly the protagonist here), Ralph Richardson, Robert Morley, Wendy Hiller, George Coulouris (as an English-speaking native!), Wilfrid Hyde-White and Frederick Valk.

While the Far East atmosphere is undeniably vivid and captivating (and John Wilcox's cinematography suitably gleaming), this never draws attention away from the complex character study at the center of Joseph Conrad's typically sea-based and compelling plot line (which works its way up to an abrupt yet memorable ending) about a rogue trader driven mad by lust for a native girl (the silent Kerima) and delusions of grandeur a' la Kurtz in the same author's "Heart Of Darkness". For the record, OUTCAST OF THE ISLANDS was also a BAFTA nominee, was apparently shorn of 8 minutes for U.S. TV screenings and is featured in cult American film-maker Monte Hellman's All-Time Top 10 list, apart from being championed by eminent movie critics like Pauline Kael and David Thomson!

When the Marlon Brando version of Mutiny On The Bounty came out one of the scenes I remember is Trevor Howard remonstrating with Brando after finding him getting ready to get down to business with Tarita about controlling his lust. Captain Bligh would have had little use for the character that Howard plays in Outcast Of The Island where his lust truly gets the better of him.

Those tropical islands have always had a certain allure to us westerners, but this movie based on a Joseph Conrad novel clearly demonstrates the problem of having too much of a good thing. Howard's been in the area for years and he's indulged all the readily available vices too much for too long. When he's caught stealing it might be the end for him.

But an old friend trading captain Ralph Richardson takes pity on him and takes him from Singapore to a small island where his son-in-law Robert Morley lives with wife Wendy Hiller and real life daughter Annabel Morley. Richardson deposits him there, not that Morley truly wants him.

It doesn't take long for Howard to start stirring things up and all of his schemes and machinations involve a bad case overwhelming lust for the beautiful Kerima. She certainly is something to lust over. In the end she brings about his total ruination.

The central character among the Occidentals is Howard, but Richardson and Morley aren't any model specimens either. Richardson's main concern is keeping a monopoly of the trade there. The harbor is inaccessible for the most part, but Richardson knows a narrow navigable passageway through the reefs so he monopolizes the trade. And he's pretty ruthless about keeping his monopoly.

As for Morley he's one uptight businessman. The prior relationship between Richardson and Morley is taken up in a previous Conrad novel and sad to say if you haven't read that book, a lot of it will elude the viewer.

Hiller is good, but sadly wasted in a role of a woman trapped in a bad situation. She's got an unrequited yen for Howard, but she's still a faithful wife, just like Jean Arthur in Shane.

Outcast Of The Island is a most atypical South Seas story. Conrad's vision is not fully realized by the film, but the players all do a fine job with what they are given.

Probably the most exotic film of the black & white phase of Carol Reed's career as a director, 'An Outcast of the Islands' marks his venture into Conrad's heart of darkness.

Although Ralph Richardson gets star billing as Captain Lingard the film plainly belongs to Trevor Howard in the title role as Peter Willems, succumbing to the pleasures of the flesh in the feral form of Kerima.

The British empire are represented by Robert Morley who brings weighty presence to the part of Almayer (with Wendy Hiller as his wife kitted out incongruously in a cute little bonnet and carrying a parasol); while further down the cast list comes the remarkable sight of George Coulouris in blackface and veteran silent director A. V. Bramble as Kerima's father, a blind village elder who when he throws a curse on Howard draws the response - displaying typical British sang froid - "Well, that's not very helpful!"