The Browning Version

Based on Terence Rattigan's play, this is a moving story of a public (private) schoolmaster's disappointments as his life slips away from him, and his increasing sense of isolation from everyone around him as even his wife makes clear her bitterness towards him. Michael Redgrave's performance is masterfully poignant. The film was made in an era when the values inherent in the film still had considerable currency, helping the film to achieve a degree of authenticity which it is doubtful could be achieved today. (I have not seen the more recent version, though, so it may be that I am wrong). If you are interested in the human condition, or simply want to see a masterful portrayal of human pain then you should watch this film.

I do not think the 1994 remake is so appalling.But it cannot hold a candle to this one,for sure,though.Part of the reason can be found,IMHO,in how the two directors deal with the main character.THe color version gambles on Albert Finney's performance and overlooks the rest of the cast which is not that much exciting in the first place (M.Modine is rather bland).Here ,the whole cast is outstanding ,from the young guy who plays the student to Jean Kent,a bitchy wife ,from Nigel Patrick's bewildered science teacher who becomes a human being during the movie to Wilfrid Hyde-White's (whatever a precedent user's view on the matter)mischievous,suave and finally cruel headmaster.

Of course Michael Redgrave steals the show ,but he gets good support all along the way.His performance is subdued,but emotionally intense ,and if you do not shed a tear during his final speech,you must have a heart of stone.The black and white cinematography and the stifling atmosphere give the tragedy the three unities (place,time and action) and an inventive directing makes us forget it's a play,like in the best Mankiewicz works.

As the dry-as-dust, cuckolded public schoolmaster, dying of heart disease, yet heartless in the eyes of his pupils, Michael Redgrave gives one of the screen's finest and most moving performances in Anthony Asquith's superb screen version of Terence Rattigan's play. (Rattigan himself wrote the economical, precise and first-rate screenplay). The rest of the cast act in that arch, fastidious fashion prevalent in British films of the time, though that fine and under-valued actor Nigel Patrick breathes considerable life into the role of the adulterous but penitent science teacher while Jean Kent is superbly treacherous as the unfaithful wife.

As a director, Asquith never really displayed much in the way of a visual sensibility, relying instead on the quality of his scripts but he still managed to make some of the best British films of the period, this being one of them. Although well-played the Albert Finney remake doesn't come close.

After watching the Terence Rattigan DVD collection (with most of the adaptations being from the 70s and 80s) when staying with family friends last year, Rattigan very quickly became one of my favourite playwrights and he still is. his dialogue is so intelligent, witty and meaty, his characterisation so dynamic, complex and real and the storytelling so beautifully constructed.

'The Browning Version' is a defining example of Rattigan at his finest. As said in previous reviews for the adaptations part of the Terence Rattigan DVD collection, is also at his best when laying bare deep emotional and psychological strains in his principal characters within a skillful dramatic framework. 'The Browning Version' epitomises that as well as everything that makes me love Rattigan's work so much. Was bowled over by this near-perfect 1951 film.

Not only is it the definitive version of the play but to me it is also one of the best adaptations of any of Rattigan's work, film or television. The only thing that rang false was despite Crocker Harris' very powerful, lump in the throat and tear welling departure speech how it concludes so optimistically after everything that happened in the rest of the film, it just seemed so contrived.

Can't say anything wrong with anything else though. The best things about it are the script and the performance of Michael Redgrave, the aspects that one remembers long after the film is over. The script benefits hugely from the involvement of Rattigan himself and from him extension, his superb writing, dynamic between the characters and consummate attention to very complex characterisation shine through wonderfully here and really keeps things afloat.

Redgrave is simply mesmerising, he has never been better and his performance is nuanced, at times stern and cold but extremely moving, there is self-pity here but done with incredible dignity. He's not the only good actor. Jean Kent's heartlessness as Millie is very chilling, if she comes across as a character with no redeeming qualities or weaknesses that is the film taking the right approach with a character that is meant to be like that. Nigel Patrick is suitably cocky, while Wilfred Hyde White steals scenes and Brian Smith is a winning Taplow.

Anthony Asquith's direction never allows the action to become stage bound. The gentile shabbiness of the school is captured neatly but never pat as is how all the different woes come over so mercilessly, which is what makes the drama so poignant and haunting. The story is basically an introspective character study and in terms of detail and emotional impact it's remarkably rich and subtle. There are standout moments such as the emotional turning point for Crocker Harris and the departure speech.

Cinematography is beautifully done and the set and costumes are handsomely produced. Good music from Arnold Bax as well.

In summation, a wonderful film and an example for any future Rattigan adaptation, especially for a play as good as 'The Browning Version'. 9/10 Bethany Cox

The 1951 edition of the film, The Browning Version focus's on the 'stiff upper lip' of the Englishman (and woman). In this sense the English stiff upper lip is less of a human trait, but more a phenomenon deliberately shaped by cultural ideology and attitudes from the upper classes of English society. This causes the human, as illustrated with precision in The Browning Version by Michael Redgrave, to subdue feelings, and by so doing transform the human being into a mere mechanism of an ordered society which serves to function as apposed to lives life.

For illustrating how the elimination of human feelings can be so destructive to mind, body and soul, here Redgrave deserves all accolades awarded him. Clearly one of the finest actors in cinematic history.

Just to add here that it is not a weakness to illustrate feelings but as the film states strongly, it is more of a failure to hide them.

This is a lesson in how the human condition can in the end and ultimately triumph over suppression of life itself.

Excellent film.