Le jardinier espagnol

I just want to correct a little misstatement made by FAC (fachang@mailexcite.com) in his (or her) well written Spanish Gardiner comment. He (or she) mistakenly says Spanish Gardiner and How Green Was My Valley were novels both written by A.J. Cronin. In fact, the latter was written by Richard Llewellyn.

Spanish Gardiner also made a strong impression on me, since I was at the age of the boy in the film when I saw it first in a cheap black and white copy, at a garden cinema in Izmir, in the Fifties. Dirk Bogarde had been my hero then due to the Spanish Gardiner in which he was unjustly treated and along with it his other two films in both of which he died. (In A Tale of Two Cities he was the first character I watched being beheaded by the guillotine. In The Singer Not The Song, he was a handsome, malicious, romantic villain wearing black from top to hills and paying for his sinful deeds at the end.) I was very sorry for Bogarde at that time. I thought however he was a bandit villain (in The Singer Not The Song) he should marry beautiful Mylene Demongeot. (Oh! How could I have forgotten her for so many years!) COSKUN BUKTEL

A minor English diplomat is posted to Catalunya in the aftermath of his collapsed marriage. He takes his young boy with him, with visions of nurturing the father-son bond. Unfortunately, Brande is a 'stuffed shirt', a cold prig of a man who fails to comprehend his son's needs. He orders the gardens of the residence to be reduced to bland English regularity, instead of leaving them as a wild, overgrown delight for a child's imagination.

Jose is jobless and penniless, but the local pelota champion is a prince among men - young, handsome, charismatic and kind. When Jose is taken on as the gardener, he begins to supplant Brande in Nico's affections.

A decision was obviously taken, pre-production, to dispense with Spanish accents. There is some sense in this, because it can seriously detract from the film's purpose if the actors are constantly struggling to sustain funny voices, but it does produce an odd result. Dirk Bogarde is 'darkened up' for the part of Jose and looks great, but his smooth middle-class English delivery seems incongruous in the mouth of a Catalan labourer. When Nico visits Jose's home, every generation of the extended family speaks flawless English. That would be amazing in the year 2000: how likely was it in 1956?

Brande (played beautifully by Michael Hordern as a spiritual cripple) embarks on a campaign of emotional blackmail towards Nico and a policy of bullying Jose. He is incapable of seeing that this approach is doomed to failure, or that the subtly obsequious Garcia (Cyril Cusack) is the Iago to his own Othello. The ungracious refusal of Jose's fish marks the first breach of trust between father and son, but character is fate, and Brande is set on a course from which he cannot extricate himself. The confrontation between Brande and Nico on the staircase is one of the best things in the film. Young Jon Whiteley, in the part of Nico, gives an outstanding performance.

Bogarde plays the accusation scene with spot-on coolness, but would the theft of a watch, even at Franco's apogee, even if it involved a foreign diplomat, merit custody, handcuffs and an armed Civil Guard escort? Would someone accused of such a minor offence really prefer to take to the hills as a brigand?

Brande's Lear-like volte face in the rain-sodden mill is an affecting scene, and though the whole thing is rather far-fetched, it works as an entertaining fable.

The "Spanish Gardener" is a warm-hearted film that entertains, teaches and gratifies all at the same time. Dirk Bogarde is a wonderful actor who never got his due as a great interpreter of character on screen. This is a simple film, but what a film it is! Sometimes simplicity is a more powerful conveyor of truth than complex renditions that lose the audience before they can redeem themselves. So much garbage is being produced currently on film today that I wonder why filmmakers don't just sit back and learn from their predecessors, often English directors, who can teach so much just by simply observing how they craft their films?

Jose helps form a bond of friendship with a young boy that cannot be broken even by the boy's jealous older father who selfishly guards his young son as a prized possession who must not have contact with anyone. This film reminds me of "A Man Without a Face" (1993) with Mel Gibson, another wonderful film.

I cannot recommend this film too highly. It will warm your heart and break it too. But isn't that what films are supposed to do? Touch your heart and get at the universal emotions of people, much like a Beethoven Symphony would, to stir, conquer and triumph! This 1957 film is a victory because of fine directing, acting, story and execution of plot which allows the audience time to absorb and feel the emotions that develop within and between the characters, resolving itself towards a beautifully crafted ending.

The very first frame brilliantly sets the mood and theme. As the movie opens, young Nicholas is isolated on the frame's left side leaving the remainder to a void, specifically, the gloomy interior of a British Embassy. He is peering out a window at a busy street below. Soon we hear raised voices from the next room. Then, two men enter, and the story swings into action. But this first glimpse shows us what we need to know—a lonely, curious boy separated from the world by elegantly impersonal surroundings and apart from adults in his life. In effect, the movie's 90-minute remainder shows us the boy's difficult journey from that detached space above to the worldly space below.

Naturally, a human interest story like this depends heavily on the quality of the performances. Fortunately, they're almost uniformly outstanding, particularly Hordern's. As the emotionally bottled-up father he's simply superb. He's very good at concealing unwanted emotions before they betray inner conflict and possible weakness. And being a diplomat in British employ, the self-discipline goes logically with the job. The trouble for Brande (Hordern) is that he has allowed that professional demeanor to take over his private life, as well, resulting in an emotional prig who's already lost his wife and is in the process of losing his son. The latter are quietly wrenching scenes, especially when the Spanish gardener Jose (Bogarde) arrives and the boy's conflicts become painfully evident.

It's significant that the boy's mentoring companion is made a gardener—that is, a man who knows how to make young things grow. (Note too how quickly the screenplay connects the handsome Jose with a girlfriend, thereby forestalling possible innuendo.) Ironically, then, it's the understanding menial and not the father, who provides Nicholas with the needed opportunity to grow. Thus, when Nicholas doffs his white shirt to join in the gardening and the sun, it's a highly symbolic act, and I was reminded of those imperial times when the conquering British were disparagingly said "to go native" by adopting customs from the locals. As a result, the rivalry between the cultured diplomat and the athletic gardener can be taken in that broader sense as involving more than matters of personal jealousy. Thus Dad's first admonition to Nicholas is to put the shirt back on, and all that signifies.

To me, the movie's first two-thirds come across as a triumph in the art of stylistic naturalism—the riveting seaside vistas, the subdued performances (excepting Cusack's overdone Garcia), along with the sensitive dialogue— for example, note the subtle lengths Robert Buford and others go to so as not to offend the insecure Brande. However—in passing —I do think the accusatory line about failing as a man is unnecessary and contrary to the film's strength, a strength that lies in "showing" rather than in "telling". In short, we've already been shown Brande's key character failing, no need to tell us.

Unfortunately, the movie's final third turns baldly melodramatic and contrived. The stagey storm and chance meetings at the mill may provide some dramatic action, but they also undercut the modulated naturalism that's so effectively defined the movie. I don't know how much of the melodrama was in the Cronin novel, but the sudden departure prevents the movie from being the classic it should have been, at least in my little book.

Nonetheless, it's an unforgettable film in so many ways. Of course, the slow pace is not everyone's cup of tea-- which may be why the last part was turned into melodrama. Still and all, there's so much that's impressive, from Whiteley's affecting performance to Bogarde's smiling approach from the bosom of the seaside. I guess the story could be taken as an allegorical comment on what happens to even the coldest-climate British when introduced to the soothing rays of the Spanish Riviera. However that may be, it remains a moving film of memorable moments and one of my favorites.

I watched this movie when I was a kid and it has left a very nice feeling inside me whenever I remember it.

It is a very emotionally complicated movie with wonderful actors.

I also very much like the acting of the boy and the gardener.

The actor who plays the father is also very natural and delivers a believable and wonderful acting.

The other remarkable point is the screenplay and the story which is very deep. sometimes it makes you feel satisfied and entertained sometimes it makes you cry.

In all, It's a movie that you have to watch if you are a film lover.

8 out of 10 is my vote.