Égarements

i've just seen the movie and i enjoyed it. one shouldn't expect the shooting and love scenes that are so common in today's movies, the film has a certain classical perfume. although the action lacks violent events and all the characters behave calmly, the tension is present always, especially through music and landscape, a constant feeling that something bad is about to happen. there are some beautiful moments of interior struggle which are not expressed through words but through the glowing eyes or shadows on NC's or Celia Johnson's face. the lines are poetical in the well-known NC style and the music is beautiful. the movie is intense and personal.

Noel Coward's name appears so many times in the opening credits that you think it's going to be a parody: starring, written by, based on a play by, music by... (Celia Johnson is top-billed at the start; he is in the closing credits). He's "one of the most famous psychiatrists in the world" and living a happy upper-class existence in postwar London, which looks pristine and rich, with wife Johnson, until her schoolmate Margaret Leighton shows up to form a triangle. The dialog does have some Coward wit and polish, and the structure is clever--we learn at the start that something terrible's happened, but we take our time finding out what it is. Johnson's as excellent as you'd expect, and it's fun to see Leighton in a more glamorous mode than she usually employed, and it's literate and soigné. But Coward is not, let's face it, a likely object of affection for this particular triangle, and it's hard not to giggle when you know that after each day of shooting he's going home with Graham Payn (who plays his man-Friday, and has an irritating voice). Even his character, as others have noted, is rather dull, and you wonder why both of these two resourceful, attractive women would be throwing themselves at him. Worth a look, and buttressed by a particularly elegant Coward musical score, but not one for the ages.

This appears to be one of Noel Coward's lesser known films, and it is easy to understand why. Taken at face value it's not a bad film, but there's nothing terribly good about it either. Nothing much happens at all throughout the course of the film, it's simply the story of Chris and Leonora's ill-fated affair, and Barbara's reaction to it. The only thing that keeps the film interesting is the fact that we already know it's going to end badly for one reason or another, owing to the first scene. Oddly, there are many perfect opportunities in the story for conflict, and yet none of them are utilised. For example, it would've been much more interesting and believable if Barbara had've fallen out with Leonora, but instead the two remained on good terms throughout the film. The notion of Barbara having been betrayed by her friend was not explored at all - in fact she didn't even seem to feel betrayed by her husband; she even encourages him to go on a holiday with Leonora. Similarly, Chris' two secretaries at his practice, Susan Birch and Tim Verney, who also happen to be close friends of both Chris and Barbara, are never forced to take sides. In fact, Tim shies away from conflict by telling Chris that he's terribly fond of both him and Barbara. Despite the strange lack of conflict, the biggest flaw in the film is the fact that we don't care whether Chris ends up with Leonora or Barbara. The two womens' personalities are indistinguishable anyway so we don't know which of the two is better suited to be with Chris, and besides this, Barbara's permissiveness gives the impression that she hardly cares about the affair anyway. Furthermore, I found Chris and Leonora's relationship somewhat unconvincing. I can overlook the ridiculously short timeframe in which they fall for each other because that is so common in films of this era, but even then the relationship seemed shallow. Coward's character was too austere and cynical to be the object of Leonora's affections. He reminds me of the socially inept genius Sir Earnest Pease from the film "Very Important Person" - I'm sure the two would've gotten along well. Chris' coldness and austerity made his love for Leonora seem insincere. I think Coward should've sat this one out and given his part to a younger man - as it is, I was constantly wondering what this young beauty saw in such a sombre, mostly emotionless, balding middle aged man. Despite all my criticisms, the film still manages to be interesting - just not terribly compelling. The fact that none of the characters are particularly well developed gives them an enigmatic nature, which is somewhat intriguing. The Astonished Heart is certainly worth watching, but it is a flawed piece of cinema.

Noel Coward was perhaps the wrong person to star in this odd adaptation of his own story, about an unfaithful husband and the decisions he makes.

It works mainly in flashback, so no surprise for the viewer in seeing where the affair is heading. Celia Johnson plays Coward's wife (a second teaming, following In Which We Serve, eight years earlier); while the lovely Margaret Leighton is his love interest.

The scenes between Coward and Leighton are difficult due to the total lack of chemistry, but the film is not altogether bad: Joyce Carey appears in support, and is very effective; the plot, although outlandish, can be accepted to a point. Coward himself had a low opinion of his work in The Astonished Heart, referring to himself as ‘that splendid old Chinese character actress'.

The chance to see Noel Coward perform any one of his works is never to be passed up. But The Astonished Heart is inflated out of all proportion from what began as a small one act playlet, part of an octet that comprised Tonight At 8:30.

Another of the playlets from this group was also similarly inflated by MGM as a vehicle for Norma Shearer and Melvyn Douglas. There just was not enough there to warrant the inflation. Coward does marginally better when he inflates it himself.

The English are so terribly civilized about infidelity. That must be the reason that there was never the equivalent of the state of Nevada, a Reno where spouses can soak the adulterer in court. I'm thinking that this particular Coward work did not play well in America as opposed to others.

Coward after years of what was a humdrum marriage to Celia Johnson falls hard for Margaret Leighton who is both beautiful and treacherous. She's an old friend of Johnson's who drops in and one night when Johnson can't make a social engagement, Coward takes Leighton and he descends down hill from there.

Coward in the story is a psychiatrist, a profession that's supposed to have all the answers for human behavior. But his training hasn't given him any answers. Johnson might just take him back, but he can't bring himself to make a move. It all ends badly.

As we know Coward was gay and this film offers us a rare chance to see Graham Payn who was his partner in life and whose career was mostly on the English stage. Payn plays an office assistant to Coward. But I wonder if some previous relationship went bad for him and Coward being the good story teller that he is was writing about something that happened in his own life.

He also understood the human psyche well and certainly pride can be a double edged weapon in our character. It's pride that keeps Coward from doing the right thing all around.

Coward did a far better job than MGM did in inflating one of his short plays to a full blown drama. But while it's good, it's not up there with Private Lives or Blithe Spirit.