Der Mittler

There is always at least one reason for wanting to see any film and 'The Go Between' had plenty. Harold Pinter to me was one of the greatest playwrights/writers of the twentieth century, his prose is so insightful, very intelligent, not heavy-handed and sharp even if his screenplays may be too talky for some. Have had a high appreciation for Joseph Losey ever since first seeing his 'Don Giovanni' (one of the best opera films ever made) over a decade ago. Love the cast too.

1971's 'The Go Between' on the whole didn't disappoint. Like their previous collaborations, it is very good if not flawless. Even if it is again very polarising, can totally understand why it may not connect with some but personally do understand the positive reception more. If you like fast and furious pacing, prefer rootable characters and are not a fan of sparse dialogue and a lot of pauses, it's perhaps best looking elsewhere. If you are fine with deliberately paced films and like films that disturb and move through atmosphere, 'The Go Between' is likely to appeal. It is hard to say which is the best between this, 'The Servant' and 'Accident', as someone who thinks they're equally very good in their own way.

By all means, 'The Go Between' isn't perfect. Personally did find the score ill fitting tonally, too much like Gothic spy thriller from the 70s whereas a more elegiac, quieter period music approach would have been more suitable. And it could have been used a little less too.

Do agree with those that say that there are some muddled time shifts where the film jumps about a little structurally. The first 20 minutes or so drag a little too much.

However, all that is overshadowed by the huge amount that 'The Go Between'. It is gorgeously filmed and the Norfolk locations are stunning too. Losey's direction is very atmospheric and accomplished, and Pinter's dialogue is unmistakable Pinter, not wordy or constant but very poetic and thought provoking. The story is deliberate, over deliberate to start with, and also tense and moving with its portrayal of the class system and divide being biting and insightful in how regressive and manipulative it was in the time period depicted in the classic source material.

Can't fault the acting, Dominic Guard's performance has garnered a very polarised response, to me he was fine. Julie Christie and Alan Bates smoulder beautifully in their roles, though Bates' character is underdeveloped due to the amount left out, with a chemistry that makes one believe in the romance. Margaret Leighton is also very powerful and commands every second of her screen time.

In summary, very good if not without flaws. 8/10.

While staying with a prosperous family in Norfolk, a young boy becomes the unwitting pawn in a love triangle. Remaining faithful to the book 'The Go-Between' is a nicely understated, almost serene account of an illicit affair, but if you want to see bedroom romps, bust ups, and flying crockery then go watch the soaps.

Where the film succeeds brilliantly is conveying an oppressive class system during a oppressively long, hot Summer in Edwardian England. One of the best scenes is the cricket match, and Pinter, himself a keen follower of the game, cleverly uses cricket as an allegory - Trimmingham strokes the ball with cultured finesse, while the rustic Ted Burgess just crouches and hits. In the end he gets caught out by the boy.

This film takes a less is more approach to a classic novel, and overall , i think succeeds very well.

Richly-detailed period romantic drama, told more or less from a child's viewpoint but treated with the maturity one has come to expect from a Losey film (the main plot is interspersed with fragmented clips of the boy as an old man - played by Sir Michael Redgrave - revisiting the aristocratic country estate where the majority of the narrative takes place).

Though the characters are rather swamped by their surroundings (the two leads are particularly subdued) - as captured by the gleaming cinematography of Gerry Fisher and the elegant décor of Carmen Dillon - the film allows for several good performances from a sturdy cast, including Dominic Guard (as the boy Leo who acts as messenger in the impossible love between upper-class Julie Christie and commoner Alan Bates, both of whom he idolizes), Edward Fox (as Christie's intended, a war-hero), as well as Margaret Leighton and Michael Gough (as her parents); Leighton's role remains in the background for most of the time but, then, she asserts herself during the last third to bring down the couple's relationship - with the unwilling assistance of the bewildered Guard. Besides, Michel Legrand contributes an atypically ominous yet haunting score.

This was the third and last time Losey and screenwriter Harold Pinter worked together, constituting a very fruitful and quite extraordinary collaboration; for about two-thirds of its length, the film finds Losey somewhere near his best - the contemporary subplot where Leo reprises his 'services' for an older Christie works less well, in my opinion (and is too sketchily presented anyway), rendering an already deliberately-paced film somewhat overlong!

THE GO-BETWEEN won the Golden Palm at the Cannes Film Festival, was nominated for an impressive 12 BAFTA awards (winning 4) but received only 1 Oscar nomination (for Leighton as Best Supporting Actress).

This movie is the third joint venture paring writer Harold Pinter and director Joseph Losey. The other two are The Servant (1963), and Accident (1967). This venture, combined with a top-notch cast, makes for a great film: No. 56 of the BFI's Top 100. Yet sadly, the movie has not been restored, in its original aspect ratio for DVD, and I had to see it on VHS in the full screen pan-and scan version.

I've a feeling that this is one of those films that MUST be seen in its original wide screen format, since the photography of the English countryside setting is crucial to the movie, and anything less does not tell the movie's whole story!

Michael Redgrave tells the story, in retrospect. It begins as a 12-year- old boy, Leo (Dominic Guard), comes to spend the summer of 1900 at a large English country estate. He is a guest there, and his relationship to the family is never made clear. We don't learn much about his background except what we overhear: that his mother is a widow from the city. As he is introduced at the family dinner table, he tells them that he knows magic and has conjured up curses on people, but this seems a game between him and the other boy his age on the estate, Marcus.

As the two boys play, the rest of Marcus' family starts to emerge as Marcus tells Leo about them while pointing them out. We view their lazy hot summer's life as they attempt to occupy themselves with conversation, nature, art, culture, and games. Leo attempts to fit in with the family led by its matriarch, Mrs. Maudsley (Margaret Leighton). Leo also becomes attracted to Marus' older sister, Marian (Julie Christie), and develops a puppy love for her. (At one point he proclaims that he would do almost anything for her.) She, in turn, shows an admiration for him.

One day as the family goes out for a swim, they encounter their lower- class neighbor, Ted Burgess (Alan Bates), who is trespassing on their property by swimming in their lake. Leo later meets Ted and is gradually taken into his confidence. At Ted's coaxing, he starts to secretly deliver notes to Marian, and she, in turn, returns notes to Ted, through Leo.

Feeling 'out of the loop,' Leo wants to know more. He eventually asks Ted to tell him about sex ('spooning'). At almost thirteen and with no father to guide him, Leo has never been told the facts of life. Yet, he senses that he should know more and that Ted will explain it to him-- though he never really does. When Marian becomes engaged to an upper- class gentleman, Ted seems displeased. However, after a brief break off in communications; Ted and Marian begin their secret exchanges again with Leo still acting as their dutiful Mercury-like 'go-between.' Then, on Leo's thirteenth birthday, he suddenly learns the shocking nature of his carried missives.

This film, accented by Michel Legrand's score, has a mysterious, almost Gothic, feel about it. There seems to be something always missing, just out of view, waiting to be discovered. But, just as Leo is never made part of the secret, neither is the audience--until the surprising ending.

I agree with the previous reviewer that the time-shifts seem unnecessary and serve only to complicate the film. There's also an unlikely implication that the events of the Norfolk summer which Leo experienced 40 years ago were so traumatic that he had become psychologically incapable of getting married.

But for me, although there's not much that happens in the plot, this film is heavy with nostalgia. It was the first school film I saw on arriving at a Northamptonshire boarding school. Like Leo, I was 13 and didn't understand everything that was going on.

Would I recommend it to today's youth? Well yes, but I wouldn't expect a large proportion of them to sit the entire way through it. It just doesn't have anything like the pace of today's blockbusters or teen movies. The enjoyment of this film is now largely an intellectual one -- it's about the laughable views of the upper class, and about book-to-film transfers.

Incidentally, to my knowledge, this film has never been available for sale on DVD. And yet in March 2006, it was given away as a freebie DVD with the UK's Sunday Telegraph. The film industry is seriously undervaluing its back-catalogue. Who knows what next -- Lindsay Anderson's brilliant 'IF' in a packet of cereal??