L'ombre d'un homme

This is an exceptionally written and acted film--one that I strongly recommend. However, I warn you up front that it is often hard to watch because it deals with some very sad and pathetic people--particularly the lead, played by Michael Redgrave. The film is about the final weeks in a job by a long-time teacher at an upper-class British school. It seems that a sickly middle-aged teacher (Redgrave) is leaving and, unfortunately, his leaving isn't causing any sense of loss among the students or faculty. That's because long ago this teacher's spirit dwindled away--much of because he is locked in a loveless marriage. And, over time, his disappointment in love has been translated into a coldness towards his students. It's a fascinating but powerful study of a pathetic man--a man, who at mid-life, has come to realize that his life has been a waste and his wife could care less about him.

This is a wonderful film--and an interesting contrast to the old character from "Goodbye, Mr. Chips". While Chips was a bit stuffy, he adored his students and was beloved...whereas, with the character from this film Redgrave plays a man who is bitter and sad...yet by the end manages to keep some level of self-respect.

By the way, my wife hated that this film never really got to the heart of why the teacher and his wife were so cold towards each other. There is a scene that alludes, mildly, to perhaps him being impotent or perhaps even gay--but she needed to know this in order to love the film and was disappointed it was never revealed. See the IMDb trivia for more on this, by the way.

Michael Redgrave is wonderful in this film. To watch him in The Lady Vanishes, then to see him in this, it really is a testament to his acting versatility.

The story itself is utterly depressing, and shows little remorse. Though this is why the film is so brilliant. The atmosphere mixes that of the school and that of the Greek tragedy - namely Aeschylus' the Agamemnon. Coker-Harris is slowly broken down by his wife, which is similar to that of Clytemnestra and Agamemnon. However, Coker-Harris has not done much wrong to warrant this hate and spite, which makes him a sympathetic and tragic character.

The film moves at a brisk pace and is not once boring. The acting is superb, the look efficient and makes for a superb film.

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

Without a doubt, one of the best movies I've ever seen. This movie is a movie for today, it seemed fresh enough to have been shot in our time. Michael Redgrave's performance is amazing as the beaten professor, life deals him blow after blow and he keeps on going without a blink. You want him to scream, you want him to react, but he is simply too scared. Perhaps he's accepted his lot in life, but you want more for him. It was heart wrenching and I was left knowing I had witnessed a classic that would not be easily matched. I haven't seen a movie so moving since my first viewing 10 years ago. Highly recommended and it appears it's coming to DVD very soon!

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.