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aka The Rake's Progress is fun to watch and enjoy.

The movie relates the story of a British Playboy, Vivian Kenway (Rex Harrison), in flashback, from the opening scenes of the film.

The first flashback takes us to a young aristocratic boy in London on Armistice Night, 1918. The young boy, talks to two soldiers who are happy that he will have to fight in a war. One of the soldiers gives the boy a talisman from his cap and the boy keeps it.

From there, the film moves forward and we see Vivan at Oxford in 1931. He is a prankster there about to be "sent down." Once he is "sent down" from Oxford, his family must find useful employment for a young man with his station in life.

But where?--How about a coffee plantation in South America? Vivian does well there, but since Brits don't drink coffee and the price of coffee is too low to make a profit, he must try another line of work.

Try again— How about a job with Vivan's old friend from Oxford, Sandy Duncan (Griffith Jones)? While it is true, he has an affair with Sandy's wife, it turns out that she is not such a virtuous woman either. So, even though Sandy and Vivian have a huge fist fight on the lift at one of the London fine establishments, Sandy has to admit that she was no big loss.

Next try— How about getting into the race car racket by driving at Brooklands? Well, that just ultimately leads to more problems.

With Rex Harrison playing an aristocratic bounder who thinks he can do about anything for enjoyment, money, or sex, this playboy thing just goes on and on. Doesn't it?............

Lili Palmer, who was Rex Harrison's 2nd of 6 wives, at the time the movie was made, also has an important role in this movie. I like Lili's cuteness. She sort of reminds me of a German version of Leslie Caron.

As the shared horrific experience of the Second World War was coming to an end, the last thing people wanted to see was the amusing misadventures of an over-privileged, work shy toff. Instead of a comedy, we get to see the grim consequences our hero's dissolute lifestyle.

Were it not for an intelligent witty script and Rex Harrison being so charming and likeable, this could have been a dark and moralistic sermon. The talented Frank Lauder and Sidney Gilliat team achieve the perfect balance here. They take a serious morality tale and transform it into a light, amusing upbeat drama which was necessary to make the film's message acceptable to an audience suffering the hell of the last six years.

Had this been made a decade earlier it would have been very different. To us watching now it would probably be funnier but it would have lacked the depth and gritty realism. As it transpired, you can now sympathise with Rex Harrison's character, you feel you want everything to work out for him, you want him to realise that he's a good man but you still don't like him.

It's a long film, beautiful Lilli Palmer isn't in it for long enough and the first half does meander quite a bit but nevertheless it's very easy watching, it's entertaining and you feel like you're watched something worthwhile.

Notorious (1945) by Sidney Gilliat is a great black and white romance, Rex Harrison and Lilli Palmer's performance as the stars of this film really blew me away. The camera work was excellent along with the lighting techniques used.

Personally I dislike black and white films, however this film had a very modern approach to it and that was able to keep me interested throughout the length of the film. (I would still prefer to see this movie in color!)

Overall, this is a great film and I would recommend it to anyone who likes black and white romances.

Rex Harrison plays a young man, Vivian, who thinks primarily of himself. He's somewhat witty, sort of daring, extremely unreliable. Though his character is tempered slightly as time goes on, as written the character is very obnoxious.

I didn't go to Oxford, as Vivian does for a time. But I went to an Ivy League school and I knew many people like him: showoffs who thumbed their nose at convention but wanted, and generally had, the money convention brings. I was transported back not just to the time of the film but also a few decades back to the wise guy cutups of my own college years.

Harrison does a good job. Indeed, he seems to be playing himself, though that was doubtless just fine acting. I like him in most of what I've seen, particularly in "Anna and the King of Siam" and the brilliant "Unfaithfully Yours." The rest of the cast is superb, too: His real-life wife of the time, Lilli Palmer is very charming. Playing an Austrian girl, she reminded me of Luise Rainer, sans music. Griffith Jones plays his ostensibly more stuffy friend. To me, he is infinitely more appealing in all regards. And Margaret Johnston is beauty and charm itself as Vivian's father's secretary.

It would be interesting to show this on a double-bill with "Look Back in Anger." That was written as an antidote to the "mustn't forget about tea" movies and especially plays that had preceded it.

Yet Jimmy Porter, its protagonist, comes across today just as badly as Harrison's character does. The acting in that film, too, is marvelous. But at the core of each is a character who is not just a boor: Jimmy and Vivian are really creeps, though we are not intended to think them so.

Frank Launder and Sidney Gilliiat utilised Rex Harrison's roguish charm to good effect in the rather lightweight 'Constant Husband' in 1955. Here we are ten years earlier with what is probably their best film and certainly one of Harrison's best performances. His plays Vivian Kenway, a man who is not exactly a jackpot of admirable character traits being a dissolute wastrel and spendthrift. Unlike the Rake in Hogarth's engravings of 1735 he does not descend into madness although at one stage it looks as if he might but redeems himself as a war hero. Although throughout most of the film Kenway's behaviour is reprehensible one cannot bring oneself to dislike him which is surely a testament to Harrison's portrayal. One has a sneaking admiration for his devil-may-care, something will turn up attitude and as for his success with women, it takes two to tango. The three principal women in his life are very contrasted.'It' plus 'It' equals 'chemistry' and that between Harrison and his then wife, the superlative Lilli Palmer, is there for all to see. Margaret Johnston is splendid and no one does 'flighty' quite as well as Jean Kent. Mention must be made of Godfrey Tearle's beautifully understated and moving performance as Kenway Senior. Needless to say some supposedly amoral scenes were trimmed for American audiences. The assertion by Gilliat that the film's title was changed to 'The Notorious Gentleman' so that Americans would not mistake it for a picture about gardening sounds too absurd to be true but I see no reason to doubt him! Kenway's character is essentially a microcosm of the type that thrived in the 1930's for whom the outbreak of war proved a death knell. This super film not only entertains but also captures an era. Rex Harrison's personal life was 'dramatic' to say the least and although one should not make a habit of confusing an actor with the parts he plays, it is interesting that Alexander Walker entitled his biography of Harrison 'Fatal Charm'!