Paris um Mitternacht

Don't watch this period piece if you're feeling at all frustrated. Because it's about 90-minutes of on-screen frustration as poor Vicki (Simmons) tries to convince everyone that her version of reality is truer than everyone else's. The trouble is she had a brother in the hotel the night before, but in the morning everyone else says she didn't. So, where is her brother and why are the hotel people lying and will the French authorities ever take the word of one small English woman who can't speak their language. It's just one maddening frustration after another. Meanwhile, we're wondering what the heck is going on.

It's a really good suspenser as we accompany Vicki while she tries, with George's (Bogarde) help, to unravel the baffling mystery. The studio does a great job re- creating the appearance of 19th century Paris and its elaborate Exhibition, especially the ballooning episode. Also, I really like the boisterous nightclub scene that overflows with energetic gaiety. David Tomlinson too is perfect as the rather uptight English brother who can't seem to get into the swing of things Parisian. And where did they get that hotel majordomo (Catherine Nesbitt) who's officious enough to intimidate King Kong.

Anyway, the movie's enough to make you appreciate everyday things like a common reality we can all agree on. The riveting premise may have been done more than once, but never better than here.

There can be a small study made of movies set in Worlds Fairs. Start with THE GREAT TRAIN ROBBERY, where a few scenes appear at Joseph Paxton's Crystal Palace. Then CENTENNIAL SUMMER, where the 1876 Philadelphia Centennial Exposition is the center piece. Go on to The STARS AND STRIPES FOREVER, where Clifton Webb (as John Philip Sousa) performs at the 1896 Cotton Exposition in Atlanta. Then go to this film, followed by MEET ME IN ST. LOUIS (the St. Louis Worlds Fair in 1904). There would be others.

SO LONG AT THE FAIR is about the Paris Worlds Fair of 1900. It is based on an incident that has grown into a modern urban legend concerning how a young woman was told that she had no mother (or,in the film, a brother), there was no room in a hotel that she left this party in, and that she has been imagining events and people for the last couple of days (at least). In the original legend, the young woman is so hopelessly lost by this she loses her mind and is put into an asylum. In the movie (and its novel and other versions) eventually the massive conspiracy to cover-up what happened is revealled.

Did it happen? Did a young woman (here played by Jean Simmons) come into Paris, readying itself for the big world's fair, find herself confronted by a conspiracy that claimed she imagined it all? No historical evidence has ever surfaced that this actually happened. Yet the story survives. It is a terrific story, for it is based on the fragility of reality. If everyone doubted us how could we prove what we said was true? Hard to say. You need some people to validate your story in part or whole for people to believe you. In all the retellings of this story, the heroine is isolated once the mother or brother is gone. The very person to prove the story is the person whose absence is deplored but questioned.

As a costumed historical film, SO LONG AT THE FAIR is very good, with Simmons aided by Dirk Bogarde as the one person in Paris who believes her. And together they prove that Cathlene Nesbitt (the hotel owner) is lying - but with powerful friends to assist her.

It is not the best retelling of the story - Hitchcock used the plot, but changed it, in THE LADY VANISHES, where it is the missing spy, Miss Froy, whose existance is questioned by all who hear the heroine (Margaret Leighton), except Michael Redgrave.

I should add that students of this mystery don't know which world's fair is the site of the story: the 1889 French fair (where the Eiffel Tower first appeared), or the 1900 one. However there was also the 1867 fair in Paris, where Tsar Alexander II of Russia arrived. One version of the story tells that the reason for the cover-up deals with an attempt on the life of the Tsar. So it could have been one of three fairs that was the basis for this marvelous yarn.

So Long at the Fair is directed by Terence Fisher and Antony Darnborough and written by Hugh Mills and Anthony Thorne. It stars Dirk Bogarde, Jean Simmons, David Tomlinson, Marcel Poncin, Felix Aylmer and Cathleen Nesbitt. Music is by Benjamin Frankel and cinematography by Reginald Wyer.

Adapted from Thorne's novel of the same name, story is set in Paris 1889 (not 1896 as some other sources strangely suggest it is) and sees Simmons as Vicky Barton, who awakes in her hotel to find that her brother, and his hotel room, are missing. With the hotel staff adamant that she checked in alone and that her brother never accompanied her, Vicky is confused and very alone. However, hope comes in the form of handsome artist George Hathaway (Bogarde), who had an exchange with Vicky's brother and therefore can vouch for his existence. But with the odds stacked against them and proof hard to find, can the pair of them uncover the truth and solve the mystery?

It seems now to be a familiar plot, but it wasn't back then and the story's origin is derived from an urban legend. What unfolds over the film's running time is a sharply told mystery that is infused with good quality drama. Simmons and Bogarde make for a very engaging couple and it's very easy to root for them as they set about their sleuthing. However, the film is split into two as regards tonal worth.

The first half is the most atmospheric as Simmons' Vicky is a stranger in a strange land, her fraught helplessness over her missing brother is enhanced by the language problems. This aspect impacts on us the viewers by there not being any sub-titles for the French speaking parts of the script. A good move is that.

Once Vicky teams up with George the thriller suspense gives way to detective mystery, which is fine, and for sure the "reveal" that comes in the finale is credible, but it's hard not to lament a touch that the pic hasn't stayed in "darker" mode, even if the score is consistently too jaunty for such a story. While the black and white photography is, however, tonally pleasing, and the Victorian costuming is authentic looking.

There's a couple of off kilter shots but noir like visuals are in short supply, and characterisations and basis of plotting do not scream out as being noir influenced, so you have to wonder why the film has found its way into a DVD collection of British Noir? It's a classy little mystery, boosted by some prime British acting talent, but first time viewers expecting a Brit film noir should heed my warning, it's not! 7/10

Having seen this movie again after many years, I was surprised how well it holds up.

Jean Simmons gave a convincing performance as the young girl, terrified and confused by the disappearance overnight of her brother and the refusal of the hotel staff to acknowledge that he even existed. Dirk Bogarde gives his usual excellent performance as the English artist who comes to her rescue.

Although the plot is fairly predictable, the suspense is maintained right to the end, the setting of Paris during the Great Exhibition is picturesque and both Miss Simmons and Mr Bogarde look delightful What more can you ask for?

Fascinating film from Britain's Rank/Gainsborough Pictures, slyly written by Hugh Mills and Anthony Thorne, has young woman from Naples traveling with her stuffy brother to Paris in 1889 for the Exposition, only to awaken the next morning in their hotel to find her sibling strangely missing. Plot-line has since been well-trodden, and probably wasn't completely fresh in 1950, however the mechanics of the situation are engrossing due in no small part to the direction and performances. Jean Simmons, in both period dress and costume for the festivities, looks very beautiful and handles the high drama with aplomb (though perhaps giving her Vicky Barton more dialogue might have made the character even sharper). Dirk Bogarde, as a painter who met the missing man quite by chance the night he vanished, is excellent teaming up with Simmons to play detective. Stylish, enjoyable film plays fair with the audience to a large degree; a few far-fetched incidents, including a head-scratching balloon disaster, don't detract from the fun. *** from ****