Teufelskreis

This is probably the most mature film ever made about the realities of gay life in 1960s Europe (not just Britain). Bogard's unflinching portrayal of a gay lawyer's search for the truth about an attempted blackmail of his ex lover is masterful. Sadly, a lot of the particulars depicted here still hold true-gays in public life are still persecuted and subject to blackmail (since not all are "out" in the current sense of the word). There is none of the hideous sniggering anti gay attitude here that characterize many later films about homosexuals (ie, Cruising, and especially, Staircase-a truly awful film featuring two straight actors, Richard Burton and Rex Harrison, both engaged in a disparate attempt to prove they are 'not gay' I suppose). Beyond the subject matter, actually much too serious for a standard film noir, the film is photographed beautifully in moody early sixties black and white, perfect for a noirish crime drama such as this.

From what I have read, this was the first British film ever to use the word "homosexual" in the dialogue. That may, or may not, be technically true. Regardless, in 1961, overt gay references were risky to filmmakers, at least in Britain and the United States. Thus, the most amazing thing about "Victim" is the simple fact that it was made.

The film's theme is anything but subtle. Viewers in 1961 learn that government laws punish gays and encourage blackmailers, who function as predators to extort money from those whose instincts are out of sync with societal "norms". The film thus portrays gay men as prey, and tending to be secretive, scared, nervous, and sad. Dirk Bogarde gives an excellent performance as a powerful married barrister, secretly gay, who thinks he himself is on the verge of being blackmailed.

But while the film thus has obvious educational benefits, it is also quite entertaining, thanks to the plot rationale, which revolves around trying to guess who the blackmailer is. It's a whodunit mystery. Well into the film, a rather strange looking young man appears on a motorcycle and proceeds to chastise a barber for trying to escape from impending blackmail payments. But is this young man the real blackmailer, or just an envoy?

Adding to the entertaining plot line is the wonderfully off-kilter, noirish lighting from DP Otto Heller. The B&W cinematography conveys an appropriately moody, sometimes sinister, tone, consistent with the film's theme.

Some films try to be educational but end up preachy. Other films succeed at being educational, but lack entertainment value. "Victim" succeeds both as education and as entertainment, owing to its daring and absorbing screen story, its excellent direction, its good performances, and its effective cinematography.

Henri-George Clouzot's "le corbeau" (the raven,1943) always comes to mind when it comes to slanderous mail.The principal differences between the French movie and Dearden's one is that in the former,the raven was not a blackmailer,he was not in it for the money ,but out of pure wickedness,and he would "punish" not the gay-it was too soon- but the adulterer,the abortion and other little sins.

Dearden's work is a bold move for the time.The movies dealing with homosexuality were very rare then.It was one of the first to fight against intolerance. Of course this topic was in Tennessee Williams' plays ,but it was not really militant .We can mention in the sixties the almost contemporary "children's hour" (Wyler,1963) "the fox "(Mark Rydell,1967) and "the staircase" (Donen,1969).

Dearden's work suffers from a certain inflation of secondary characters which weakens the drama.(Dennis Price's part does not seem much relevant.)Consequently,the best moments are to be found in the first twenty minutes:Peter MC Ennery (who would be Rasputin's assassin in "j'ai tué Raspoutine"(1967) ,and coincidence,this Yusupov was also a gay)'s escape ,recalling sometimes James Mason's in "odd man out" ,is breathtaking:alone in a world gone hostile and threatening,his phone calls remain unanswered,and everybody turns his back on him:his buddy's girlfriend's attitude is telling ,full of contempt and repulsion.The scenes between Dirk Bogarde -I do not need to add to the praise he has already received- and his wife are also great moments of true emotion.Had Dearden focused on the husband/wife/young man,his film would have gained in strength.Nevertheless,this courageous plea is still worth watching.

It would be easy to view this movie as nothing more than a somewhat dated film. However, for it's time, this movie was ground-breaking, for any number of reasons, including its superb acting. Dirk Bogarde and Sylvia Syms, in particular, were perfect in their parts.

What many don't realize is that this movie is credited with helping to decriminalize homosexuality in Britain. When "Victim" was released, it started a nationwide discussion about homosexuality and associated blackmail. At the time, approximately 90% of all blackmail cases involved homosexuals, and Bogarde's character was a classic example of a blackmail "victim". The point of the movie wasn't that all homosexuals were victims, but they could only be victims so long as the law permitted it. The blackmail wasn't merely because they were homosexual, but due to the harsh prison sentences a homosexual could (and often did) receive. How often does a movie get the opportunity to help create such a profound change in society?

Straightforward, non-sensationalized British film, an original from screenwriters Janet Green and John McCormick, has a ring of blackmailers taking advantage of the laws prohibiting homosexuality in England and threatening to 'out' certain parties if they don't pay up; after one victim commits suicide, a former friend--and married lawyer--decides to play detective and expose the blackmailers, at the risk of ruining his own career and marriage. Dirk Bogarde is excellent in the lead; his grimace of both humility and humiliation is rather touching, and very human. The victims are the usual lot (an actor, a hairdresser, etc.), but the film is exceptionally engrossing and well-made, neatly camouflaging its plea for tolerance under the guise of a suspense drama (and the denouement is nicely staged). Director Basil Dearden includes a few intentionally sardonic visuals, and he isn't afraid to knock down walls (though any male-to-male intimacy stays off-screen). Still, a watermark for gay cinema. *** from ****