The Blind Goddess

Michael Denison works for Hugh Williams, who is in charge of a major relief fund. He receives word from his good friend, Martin Benson, that the fund is being pilfered, and Williams being paid off. Benson is promptly murdered. When Denison confronts him about the money, Williams denies it and offers Denison ten thousand pounds. Denison, however, wants to do the right thing and goes to the Prime Minister. He quickly finds himself on trial for blackmail, with the case being tried by Eric Portman, whose daughter, Claire Bloom (in her first screen appearance) has a secret understanding with him. As an added complication, Williams is married to Anne Crawford, who, she claims, has a letter written to her in which Denison's blackmail plans are revealed.

It's a complicated bit of a puzzle as to what is really going on, even though we see Denison every step of the way. Everyone talks in extreme toff accents, and we are apprised of the fact that the legal system is quite heartless, although individuals may have a conscience. Also that everyone remembers the most trivial event of the day for months and months. Except me.

Sir Patrick Hastings was one of our most renowned and notable barristers whose involvement in high profile cases makes fascinating reading.

He also found time to write plays with decidedly mixed results, only two of which have been adapted for film.

This is based upon his play of the same name in which a young man accuses his former employer of embezzling funds from a charitable organisation set up for 'displaced persons'. During the trial the defendant seems to be creating a good impression until the plaintiff's lawyer produces a letter..........

The intriguing beginning of this film takes place in Prague but soon switches to London where we are introduced to 'teddibly, teddibly' Michael Denison and twee Claire Bloom. Happily it is not too long before the appearance of Hugh Williams and Anne Crawford as Lord and Lady Brasted and Eric Portman as Sir John Dearing KC.

A previous reviewer has criticised the courtroom proceedings as 'farcical' in terms of their authenticity. Might I remind him that this is a film, not a documentary and that there is such a thing as dramatic license.

Dramatically these scenes are both effective and well constructed.

Harold French began and ended his career in the Theatre. In between he proved to be a capable film director although lacking the little 'touches' that distinguish those in the top rank.

Eric Portman conveys brilliantly the objective and dispassionate temperament required by a criminal lawyer. Hugh Williams is as immaculate as ever and eminently plausible. As the film goes on one comes to sympathise with the moral dilemma faced by Michael Denison's character and as an actor Mr. Denison definitely improved with age. This film marks Claire Bloom's film debut. Her 'tweeness' became far less apparent with the years and she has enjoyed a long and deservedly successful career. The performance that stands out, for this viewer at any rate, is that of Anne Crawford as Lady Brasted. Although the means her character employs to save her husband from disgrace are shameful, this splendid actress still succeeds in evoking one's sympathy. Such a pity Miss Crawford was taken from us so early.

Not a great film by any means but an absorbing one which left me wondering why no one has ever filmed the fascinating life of Patrick Hastings himself.

Eric Portman was ideal for this part. His clipped phraseology and static style of acting suited his character - barrister "Sir John Dearing" down to a T. He is called up to prosecute "Waterhouse" (Michael Denison) who has been accused by "Lord Brasted" (Hugh Williams) of trying to blackmail him for the enormous sum of £20,000. Having reach the upper echelons of the British government, accusations of large scale bribery and embezzlement force a court case that grips the land. There are letters, accusations of infidelity, forgeries and a courtroom informality that I found quite enjoyable for just under ninety minutes. The ending has a sort of stiff-upper-lip convenience about it which rather disappoints, but the rest of this drama is well propped up by a solid cast - Anne Crawford and Nora Swinburne primary amongst them - and the courtroom intrigues have just enough complications to keep it interesting.

This is a slow plot and probably sucks in people who believe sections of the British establishment are corrupt. Obviously this was a stage drama written by a practising QC who clearly had come across some real life examples of the British aristocracy more keen on profit and self rewarding than charity or humanity.

If you want a story that seems to suggest that there are immoral figures in the UK government historically and therefore it is perfectly reasonable that they exist currently, then this is definitely the film for you!

It really isn't that complicated, but was clearly based on legal process.

Somewhat dated these days, THE BLIND GODDESS nonetheless works if you have any interest at all in courtroom dramas and the intricacy of the British justice system. It also helps to have a cast of seasoned professionals giving adroit performances throughout. The tale is one of intrigue, beginning with a shocking murder and going from there, and whilst not spectacular it certainly holds the attention thanks to the level of detail involved.