Room at the Top

Laurence Harvey wants "Room at the Top" in this 1959 film also starring Simone Signoret and Heather Sears. Directed by Jack Clayton, the story concerns a young man, Joe Lampton (Harvey), sensitive about being from a low British class, who wants to marry the boss' daughter (Sears) for her money and position. She's part of a small amateur theater company, so he joins. There he meets an older woman, the unhappily married Alice Aisgill. The two drift into an affair and fall deeply in love. Two things stand in their way: Joe's ambition and Alice's brute of a husband.

This is, to put it simply, a devastating story that will stay with you long after the film is over. The movie belongs to Signoret, so sexy, so beautiful, so sad - she's perfect. Her vulnerability, her frankness, her coolness, and her deep unhappiness will shatter you. She deserved her Oscar hands-down.

Harvey is magnificent as Joe. He's handsome, sexy, greedy, bitter, evil, and utterly determined to punish the upper class because he was born poor. The last scene is a knockout. I haven't seen the sequel - I can only imagine! Heather Sears does an excellent job as the whiny object of his affections, and Hermoine Baddeley, as Alice's friend, gives a marvelous performance. She was not only a top bawdy comedienne but a brilliant actress.

Signoret was one of the great film presences, and if you see Room at the Top for no other reason, see it for her. The entire film is a knockout.

Set in an English factory town, "Room At The Top" tells the story of an ambitious, blue-collar cad named Joe Lampton (Laurence Harvey), the film's anti-hero, attracted to two women. One woman is his boss's daughter; ergo, she is his ticket to a bright financial future. The other is an older woman named Alice (Simone Signoret).

The script trends in the direction of melodramatic soap opera, with emphasis on character development. It's rather talky. And the plot is somewhat slow. On the other hand, because of the way in which sexual relationships are portrayed, the script was a bit ahead of its time. The story has a lot to say about individual sacrifice.

The film's naturalistic, B&W lighting is fine. Background music is nondescript and unimportant. The most significant element of the film, perhaps, is the high quality of acting. Both Donald Wolfit and Hermione Baddeley give really fine performances in support roles. But, of course, the real reason to see "Room At The Top" is to marvel at the outstanding performance of Simone Signoret, who won the Oscar for Best Actress in a lead role.

Although this is not my kind of film, it is very well made. It's an important film, both for its avant-garde sexual content and for the acting achievement of wonderful Simone Signoret.

Room At The Top filmed in 1959 takes place some ten years earlier in post war Great Britain as veteran Laurence Harvey takes it in his mind to rise from his lower class origins by any means possible. He's a devilishly attractive fellow and if that's what it takes to do it, than so be it. Not like it hasn't been done before on either side of the pond.

Harvey's got no family so to speak, his parents were killed in his small town when a German bomb hit their house. He's rootless now and has a crying need to belong somewhere.

The similarities in character to novelist John Braine's Joe Lampton and Theodore Dreiser's George Eastman are too obvious to overlook. However unlike Eastman, Lampton as played by Harvey is courting two very different kinds of women. Boss Donald Wolfit's daughter Heather Sears is a young and somewhat inexperienced young lady who's easy prey for Harvey. Wolfit and his wife Ambrosine Phillpotts see what's happening with their daughter, but can't ultimately do anything.

But while they're trying Harvey falls in with the unhappily married Simone Signoret. She's married to Allan Cuthbertson who's a cheating dog himself. She's got a lot of passion left in her and even though Harvey's ten years younger, she knows how to show him one real good time. Being French she has a different moral view of things than the folks of her adopted country and she thinks Harvey does as well. He does, but Harvey has his priorities.

Room At The Top was something that still couldn't be made in America because of the Code, but at least it was shown here. What Makes Sammy Run, a work by Budd Schulberg never had a big screen adaption and it had similar themes to Room At The Top, Still it got great critical acclaim and two Academy Awards and other nominations.

Simone Signoret got one of those Oscars, for Best Actress in 1959. It's a very subtle part she undertakes, in fact she's not the main character, Harvey is. Still when she's on the screen even Harvey's flashier character of Joe Lampton takes a back seat. Signoret is just fabulous as the older and still attractive woman, trapped in a loveless marriage will touch you dearly. She's one of the most beautiful and tragic figures ever done on screen.

Harvey was up for Best Actor, but he and the film itself were running in the year of Ben-Hur. He and the picture itself lost to Charlton Heston and the noble character he created on screen. Hermione Baddely who had a role similar to Thelma Ritter's in All About Eve was up for Best Supporting Actress, but she lost to Shelley Winters for The Diary Of Anne Frank.

Room At The Top with its brutally frank talk of sex mixed with ambition has become a classic and Joe Lampton became Laurence Harvey's signature role. Two sequels with Joe Lampton, Life At The Top and Man At the Top, were spawned from the original, the latter with Lampton played by Kenneth Haigh as Harvey had died by then. It's an enduring classic of the British, nay the English language cinema and should not be missed.

This is a superb movie. The plot is reminiscent of "An American Tragedy." But it takes place in England, and the hero is very much an Angry Young Man. Nevertheless, it is so beautifully written and directed it feels as fresh and new as if the such issues had never before been touched in movies.

Laurence Harvey, whom I'm generally not crazy about, is superb as the lower-class guy determined to make it big. He sets his sights on the boss's daughter, appealingly played by Heather Sears. But something happens to sidetrack him. And that something -- Simone Signoret -- is the main reason to see and to cherish "Room At The Top." She is very believable as the slightly shady older woman with whom he has a romance. And her eyes! Her eyes, suggesting wisdom and great depths of sadness, will break you heart. It seems like a simple performance and it is uncluttered, stark. But it is flawless. I can think of almost no other performance by a woman in an English-language movie that compares to Signoret's.

The unusual depth and range in the love between Alice (Simone Signoret) and Joe (Laurence Harvey) are what takes "The Room at the Top," to another level. However, this almost classic film doesn't always rise above its flaws. The truth is that Signoret is consistently convincing in her role, and Harvey is not.

His biggest problem is his two-faced persona. He is the young, naive, rustic in one scene, and the older, authoritative, sophisticate in the next. He shifts between these two types more often than he switches accents. And his voice seems to follow the same pattern, so mellow when a yokel, so deep and masculine when a convincing dominant.

This convenient inconsistency seems most apparent in his scenes with Susan Brown, where one sometimes gets the impression he is reading lines from a children's play, and yet at other times, he's the worldly older lover who cannot be bothered with such a vapid and square youth. His age seems to veer from 21 to 33, and back again, in according to the scene's mode.

Unlike Signoret, Harvey doesn't adjust to the script's unevenness. He can be a faltering innocent with Alice or he can as likely be her suave superior. His juvenile jealous tirade over Alice's artist model experience is one of several examples of his character deviations. His venom here makes Mr Brown, the villainous capitalist, seem both relatively mild and complex.

However, it's true that when the love scenes with Alice move beyond the literary, Harvey does achieve remarkable acting heights. Whether Simone Signoret's ability to be more than a match for her scripted lines has been transferred to him, or because she, in her first-class artistry, has covered for him, is hard to tell but, in the end, he towers, and the movie soars, despite his and its letdowns.