La nuit est mon ennemie

Sir Mark Loddon has been having a hard time of it since he returned from WWII. He was in a German prison camp and then was injured badly during his escape. Everyone, including himself, assumes that his emotional state and spotty memory of things that happened before his escape are due to his wartime trauma. We call it PTSD now, they called it "shell shock" back in the day. He's subject to night terrors and he is always seeing some terrifying reflection in mirrors, water, whatever.

And then along comes somebody from his past, Jeffrey Buckenham, who escaped with Loddon. Buckenham is saying that Loddon is in fact an impoverished actor named Frank Wellney who could have passed for Loddon as far as looks go and who was always trying to find out personal details about Loddon and impersonating him. Wellney, along with he and Loddon, escaped the prison camp together. The three got separated, and (from a great distance) Buckenham witnessed what he believes is the aftermath of the murder of one body double by the other. Only after seeing Loddon on a TV program about famous English castles and noticing that Loddon has the same finger missing as Wellney had has Buckenham decided to come forward with his suspicions.

Buckenham doesn't want blackmail money. Instead, he wants to expose Wellney for the fraud that he is. Buckenham goes to a local newspaper and tells them his tale and the paper prints it, with a great deal of publicity being stirred up since Loddon is quite wealthy and owner of a large manor. Loddon wants to ignore the whole thing and let it blow over, but his wife, Margaret (Olivia De Haviland), says they must sue the paper and Buckenham for libel as otherwise this scandal would always hang over their son. So Loddon becomes a reluctant plaintiff. But why is he so reluctant?

Thus the rest of the film is a courtroom drama with lots of interesting turns including a surprise witness with a story that turns out to have a kind of Frankenstein monster twist to it. The really interesting part of the plot's dynamics is that Loddon was so terribly wounded and shell-shocked in the aftermath of the escape that he himself begins to doubt who he is and what exactly he has done to the missing Mark Loddon, if he in fact is not Mark Loddon himself.

The casting is wonderful. De Haviland is great as a woman who at first completely believes in her husband, but after all of this testimony is beginning to have doubts. Wilfred Hyde-White and Robert Marley are the clever barristers. Anthony Dawson plays Mark's sly cousin who would inherit the entire Loddon estate if it can be proved that the person claiming to be Mark Loddon is an imposter. Finally there is Dirk Bogarde who convincingly plays both the aristocratic Loddon and the oily Wellney as two very different types of people, and also excels at playing whoever the troubled person is sitting next to Olivia De Haviland in the courtroom.

Updated to make the protagonists be World War II veterans instead of World War I, Libel made its Broadway debut in 1935 after a run in London and ran for 159 performances during the 1935-36 season. Playing the role Dirk Bogarde does here was the screen's original Dr. Frankenstein, Colin Clive.

As for Bogarde due to movie screen magic he gets to play two roles, the respected titled English Lord with American wife Olivia DeHavilland and a Canadian fellow prisoner of war who was a traveling player and who looks like him. Worse than that, we see in flashback how he envied him.

Into their happy lives intrudes another former POW Paul Massie who knew both men in the camp and makes the startling accusation that the one stole the identity of the other who died during the war. This indeed is a case of Libel and one for the courts to straighten out.

Bringing the suit on Bogarde's behalf is Robert Morley and defending Massie is Wilfrid Hyde-White, they make a fine pair of antagonists. What is the truth, for that you have to watch Libel.

Though Olivia is first billed, the film clearly belongs to Dirk Bogarde who delivers a fine poignant performance of a man tortured by doubt, there are things tucked away in his mind that he prefers not dealing with. Olivia gets her innings in when even she starts to doubt the identity of the man she's been married to.

This film also gives we Yanks a chance to see Richard Dimbleby who was a combination of Edward R. Murrow and Walter Cronkite, that kind of trusted voice of the British Empire for the BBC. In fact Dimbleby is hosting Bogarde and DeHavilland on a tour of their mansion when Massie spots them on a bar television and sets everything in motion.

Libel holds up very well today it could probably be easily remade for something like the Iraq or Afghan war in about 15 years time.

Having just seen "Libel" on TCM, I was pleasantly surprised....certainly, it is not a great film, but still was very entertaining, and the settings were extremely well done. The story line has been done before, but the acting of some very good English stalwarts plus Olivia de Havilland as an American wife to an English Baron, makes it well worth watching. Dirk Bogarde (never a favourite of mine) does an excellent job in a dual role, and is ably supported by Robert Morley, Paul Massie and Wilfred Hyde-White. There is no doubt that the producers of this film have come up with a film that still stands up today, and be proud of the end result. There are some very clever twists and the use of flash-backs was excellent. I can recommend this to everyone

Dirk Bogarde was a marvelous actor, and this is a fine film. But if you insist on believable stories, you won't like it. It's as true to life as an Agatha Christie story, and just as entertaining.

The plot is this: An English lord and a penniless scoundrel who looks exactly like him are in the same POW camp during World War II. Years later, another veteran claims the scoundrel actually killed the aristocrat and has been impersonating him ever since. The whole thing winds up in court, putting the aristocrat's wife through some agonizing moments. Finally, when nobody can stand the suspense any longer, the truth is revealed.

The idea of someone meeting his exact double is as silly as it is unbelievable, and by the 1950s there were ways to verify whether a living man was the war veteran he claimed to be. So you can't take this seriously. But if you suspend disbelief, you will really enjoy it. Though it's not marketed as a mystery, it's ideal for mystery fans.

I had to talk my wife into watching this movie on TCM, because it looked to her like a gloomy psychological drama. Once she started watching, she couldn't turn away (especially when Dirk Bogarde was on the screen). She was still talking about it an hour after it ended. "What if something like that really happened?" she remarked. Well, it wouldn't, but ...

Dirk Bogarde carries the main burden of this interesting courtroom drama co-starring Olivia de Havilland. Bogarde is an English barrister accused of being an imposter by a wartime buddy who has mistaken a look-alike they both knew in a POW camp as the man who has become Sir Mark Loddon. His understanding wife stands by him and encourages him to sue for libel but soon comes to have doubts of her own. Toward the climax, she turns on her husband and accuses him of "stealing" her love. Bogarde and de Havilland both have some excellent dramatic moments but it is Bogarde who rivets the attention with his fascinating dual role, achieving a distinct difference between the two men with just a slight change of hair style and a shift in attitude. Wilfred Hyde-White and Robert Morley are good in supporting roles as opposing barristers. It all moves smoothly under Anthony Asquith's crisp direction and all of the domestic scenes were filmed at the Duke of Bedford's magnificent country estate, giving production values a touch of elegance. The POW flashbacks are quite convincing--and the courtroom twist toward the end is nicely handled--if not quite convincing. Sometimes confusing--but always absorbing. MGM should release this one to video!