L'amabile furfante

I cannot praise THE RAKES PROGRESS too highly. It has a witty script, extremely fine performances, a good William Alwyn score (including the famous Calypso he wrote for the film), good-looking sets by Norman Arnold and handsome cinematography by Wilkie Cooper. It told a good story as well.

Yes, Rex Harrison was quite a bounder. At the time of the film's release some critics were disappointed in how the character's life suddenly changed at the film's end - a valid objection which, had the script inserted at least one "transitional" episode, might have made it more believable. However I find this a minor point, having taken great pleasure in such a beautifully made production. It gave Harrison a good opportunity to widen his acting range considerably. Hitherto only light comedy roles were offered him but in RAKE'S PROGRESS we see some serious sly villainy. It was this performance that took him to Hollywood, by the way. A special bouquet to Lilli Palmer for another sensitive, touching performance. She was, without doubt,one of the finest actresses on the screen.

Highly recommended.

The Rake's Progress (as this film is known in England) tells the story of a spoiled, rich public school boy who cannot settle in peace time but finds his role during the war by sacrificing himself for the war effort. The name of the film was changed for US audiences, according to Director Gilliatt, because 'the distributors thought the original one might lead audiences to expect something about gardening'!!

Your enjoyment of this movie will depend on your reaction to Rex Harrison in the lead role of Vivian. If you see him as a fun loving bounder, you'll have fun. If, on the other hand you find him an annoying, faithless, womanising bastard then you'll find 124 minutes verrrrry long.

I started off in the first camp, particularly during the scenes when he is based in a coffee plantation in Latin America and the amusing conversations with his elderly aunt. However the charm soon wears off as he cuckolds an old university friend, uses a beautiful jewish refugee to pay off his debts and causes his own father's death in a drink driving accident.

Does he find redemption in the end? Well, this depends on your interpretation of the final scenes. If you buy the moral that he has now found his place then the film has some meaning. I found the redemptive ending tacked on - reminiscent of the way Hawkes was forced to insert the criticism of gangsters in Scarface.

There are some good performances, particularly from Godfrey Tearle as Vivian's father and Margaret Johnson as the Secretary. Rex acts as Rex just like in Blithe Spirit, Doctor Doolittle, My Fair Lady etc....

If you've nothing better to do on a wet Sunday afternoon, give this film a look and post your views.

This is a very arguable film for its tremendous richness of ambiguities. It is both one of the best films of Rex Harrison and of Sidney Gilliat and Frank Launder. The greatest credit lies perhaps with the script, but it is handled with brilliant eloquence and equilibration by all the actors, and their parts aren't easy. Rex Harrison is particularly excellent in his very debatable character of a perfect scoundrel who wins everyone by his charm and seems to get away with just anything just by his shameless audacity. His father, a politician, seems to forgive him anything and keeps on doing so until his death, while his female victims see him through but nevertheless also keep on loving him. The one you will remember is Lilli Palmer who becomes his wife, and they were also married for real outside the film studios. He is a man of many talents but nothing becomes of him, as he seems to live just for taking chances and enjoying risking his life for nothing, just to get a kick out of it. It's a kind of morality but without morals, it just states the case without taking any stand, and no one can be a judge in a case like this. You just observe it and enjoy its thrills and moments of temporary success and cheer, while all the time you have to worry about what will happen next as a consequence of his recklessness. The dialog is splendid and probably the best film ever created by Gilliat & Launder, but it leaves you with a kind of acid aftertaste, like as if you had to think "What a waste!" of a brilliant man letting his life just run like water off his hands. Long afterthoughts are unavoidable, and you will probably never forget it.

As the shared horrific experience of the Second World War was coming to an end, the last thing people wanted to see was the amusing misadventures of an over-privileged, work shy toff. Instead of a comedy, we get to see the grim consequences our hero's dissolute lifestyle.

Were it not for an intelligent witty script and Rex Harrison being so charming and likeable, this could have been a dark and moralistic sermon. The talented Frank Lauder and Sidney Gilliat team achieve the perfect balance here. They take a serious morality tale and transform it into a light, amusing upbeat drama which was necessary to make the film's message acceptable to an audience suffering the hell of the last six years.

Had this been made a decade earlier it would have been very different. To us watching now it would probably be funnier but it would have lacked the depth and gritty realism. As it transpired, you can now sympathise with Rex Harrison's character, you feel you want everything to work out for him, you want him to realise that he's a good man but you still don't like him.

It's a long film, beautiful Lilli Palmer isn't in it for long enough and the first half does meander quite a bit but nevertheless it's very easy watching, it's entertaining and you feel like you're watched something worthwhile.

Frank Launder and Sidney Gilliiat utilised Rex Harrison's roguish charm to good effect in the rather lightweight 'Constant Husband' in 1955. Here we are ten years earlier with what is probably their best film and certainly one of Harrison's best performances. His plays Vivian Kenway, a man who is not exactly a jackpot of admirable character traits being a dissolute wastrel and spendthrift. Unlike the Rake in Hogarth's engravings of 1735 he does not descend into madness although at one stage it looks as if he might but redeems himself as a war hero. Although throughout most of the film Kenway's behaviour is reprehensible one cannot bring oneself to dislike him which is surely a testament to Harrison's portrayal. One has a sneaking admiration for his devil-may-care, something will turn up attitude and as for his success with women, it takes two to tango. The three principal women in his life are very contrasted.'It' plus 'It' equals 'chemistry' and that between Harrison and his then wife, the superlative Lilli Palmer, is there for all to see. Margaret Johnston is splendid and no one does 'flighty' quite as well as Jean Kent. Mention must be made of Godfrey Tearle's beautifully understated and moving performance as Kenway Senior. Needless to say some supposedly amoral scenes were trimmed for American audiences. The assertion by Gilliat that the film's title was changed to 'The Notorious Gentleman' so that Americans would not mistake it for a picture about gardening sounds too absurd to be true but I see no reason to doubt him! Kenway's character is essentially a microcosm of the type that thrived in the 1930's for whom the outbreak of war proved a death knell. This super film not only entertains but also captures an era. Rex Harrison's personal life was 'dramatic' to say the least and although one should not make a habit of confusing an actor with the parts he plays, it is interesting that Alexander Walker entitled his biography of Harrison 'Fatal Charm'!