Spiel mit dem Schicksal

Graham Weir (Laurence Olivier) is a teacher with a criminal record for refusing to fight in the war. Both his work and his marriage to Anna (Simone Signoret) is a struggle. He starts tutoring student Shirley Taylor (Sarah Miles) who develops a crush on him. Mitchell (Terence Stamp) leads the school bullies.

I would have liked more of this story told from the girl's point of view. That would show her progression and her reasoning. I want a deeper character than an unstable hormonal teen. Sarah Miles is twenty and that does take the sting out of the teenager role. Hayley Mills would be a more interesting choice. Quite frankly, Lolita came out right before this movie and that would siphon off any heat from the similar subject matter. As for Graham, he's too careless which frustrates me. This subject is as relevant today as ever. It is however not as daring as it could be.

You teach English in a school below your station, a spell in inside forecast your future resignation, as you objected, now you're tarred, opportunities, are now all barred, and while there's spirit, it fills a glass, for your libation. Your marriage has become bitter and soured, as your wife thinks you're afraid, a reserved coward, but you're generous and kind, you feel morally inclined, to help young Shirley Taylor, to become empowered.

Great performances from all the cast, but especially Sarah Miles who, as the besotted pupil, takes her teacher, also wonderfully performed by Laurence Olivier to the depths, as generosity and charity are rewarded with retribution and humiliation, when advances are not reciprocated, and he doesn't succumb, to the temptation.

Excellent job by Laurence Olivier, Simone Signoret and especially Sarah Miles, hat a revelation. Olivier looks tired and lethargic but maybe his heart wasn't into this project.

The main character of this film is bleak dreariness on the verge of utter hopelessness, It is supposed to be one of those shabby northern English industrial cities, but the film was actually shot in Dublin. You never see any sunshine in this environment, and the only relief of the film is the class excursion to Paris, which constitutes the dramatic turn of the drama, when young Sarah Miles in her first great role introduces her serious advances to her poor middle-aged childless teacher, who never was able to defend himself, and least of all against a pretty girl, who seriously means business. His wife Simone Signoret, always superb, looks through the young wench at once but tolerates her all the way, until she falls on her own fallacy. The only villain is the young Terence Stamp in perhaps the nastiest role of his life as a young insolent delinquent and sexual maniac. The acting is superb, Hugh Griffith crowns the performance as an unforgettable lawyer, and the only objection against the film would be against its dismal dreariness. They are all stuck in the trap of the humdrum desolation of their dreary city of second class discomfort and will never find a way out of it.

While this film will earn no plaudits from the Me Too crowd (and justifiably so, in my opinion) and the last ten minutes are a bit too plot twisty for my taste, this remains an insightful character study of a weak, alcoholic secondary school teacher with appalling judgment as well as a powerful examination of a rather sick marriage. Director Peter Glenville will never be confused with Richard Lester in the pacing department but damned if the usually too theatrical fellow does not keep the proceedings moving at a fairly good clip. The result is, in my opinion, Glenville's best film as well as the finest work Olivier has done on the screen, post "Entertainer". Plus you have Simone Signoret at her most gloriously disillusioned and bitter, Sarah Miles, in her film debut, giving a quite convincing portrayal of an unstable girl in love with a much older man, and Terence Stamp essaying a truly loathsome bully/punk. And maybe because it is based on a novel you have some very memorable subsidiary characters, as well, like Thora Hird's nasty working class mom, Dudley Foster's cold ass police detective and Hugh Griffith's go for the jugular defense counsel. Finally, the cinematography by Oswald Morris is so wonderfully kitchen sink that even Paris looks grimy. Give it a B.