Persecuzione

That's the advice that doctor Brefni O'Rorke (Dr Farrell) gives to surgeon James Mason (Joyce) when giving an analogy comparing insanity to an upturned glass balancing on a mantelpiece. So, that's exactly what Mason does! The film is told in flashback as Mason narrates a lecture to students on the topic of the criminal mind. He presents a case of a sane man committing murder. It's no revelation to the film audience that he is recounting his own story. What is interesting in this technique is that we realize he hasn't actually carried out the act and we then find ourselves in real time at the end of the lecture as he goes ahead with his plan after what can be seen as his confession to the students.

The root of his problem is a love affair with Rosamund Wright (Emma) which cannot be. The ending of the relationship coincides with some tragic news and Mason then turns to Pamela Mason (Kate) to discover the truth and exact revenge. The real events of the tragedy are never fully confirmed and so Mason's actions are very suspect. Is he insane? He certainly seems to be acting on a whim. Pamela Mason is excellent in her role and certainly had me rooting for her. I'm not sure this was the intention, though!

The young girl whose sight Mason saves at the beginning of the film is played by Ann Stephens who died aged 35 in 1966. I can't find any details on how she died. Can anyone help on this? It would be interesting to know. She delivers some amusing dialogue about not liking her hair and Pamela Mason's dialogue regarding her is flippantly wonderful – I'll send her boarding – ha ha. The best of us have all spent time boarding as a child. As for the film's title, I still don't know what an upturned glass means? Which way?

James Mason in one of his last British films before accepting that contract with MGM and leaving for America plays a doctor who may have become too detached from life. A prominent brain surgeon he accepts the case of young Ann Stephens whose eyesight he saves with a delicate operation. In the process he falls in love with Ann's mother Rosamund John.

Both Mason and John are separated from their respective spouses and we never meet either of them in The Upturned Glass. But their relationship contains a mixture of guilt for both of them. Shortly after they end things, Mason hears that John falls to her death in her own home.

Mason had already met Pamela Kellino and formed a bad opinion of her almost immediately. She's Rosamund's sister-in-law and Stephen's aunt and she's a selfish materialistic woman, a regular Cruela DeVille in real life. She's easy too hate and Mason courts her to get close.

The film is told about 2/3 of the way in flashback as Mason lectures to a university class on the atypical murderer, the sane and logical one which he naturally takes himself to be. The rest of the film is a revealing portrayal of how Mason should be seen.

The Upturned Glass is a nice bit of melodramatic noir with Mason really carrying this film. His perfect performance makes The Upturned Glass seem far better than it really is.

James Mason's final Gainsborough melodrama before packing his bags and leaving for Hollywood is a good-looking psychodrama produced and written by it's stars, sleekly crafted by it's director (with whom Mason had already established a good working relationship a few years earlier) and with a flavourful score by Bernard Stevens.

The inscrutable title is the result of a last minute change from a film about the Brontes to a replacement retaining the title but substituting an entirely different plot.

This is why I have always loved classic film - the QUALITY OF ACTING.

Story: While not hugely original, it has enough original ideas and themes that kept me interested nearly 100% (which I'm not want to do). The story is largely about three (3) elements: a) A brilliant brain surgeon, b) a man obsessed with justice, and c) the insidious nature of isolating oneself. Combining all three made for a compelling story, though again, not overly intriguing. One complaint is that the opening scene should have been an anchor, that we would have been routed back to in the end, but we're not. For me, that leaves that facet of the story extraneous, or just a big disappointment.

Acting: James Mason's acting skill is on the order of Alec Guinness, and the like - fully committed to character and never flinches on camera. Complete immersion in character keeps the viewer unaware that the actor is "acting." My only (chief) complaint is that the whole story (screen time) is virtually Mason the whole time, which can be monotonous. He's top shelf, but overused here.

Tempo: Excellent tempo as the film and story weave along, though again, Mason ties up the whole screen which drags down the rhythm for me.

Directing: Excellent camera work, scene quality with no major complaints save the near "obsession" with the lead character (Mason).

Summary: Well done film for its era and genre, and excellent acting. Mason overpowers the screen which left me somewhat disappointed by the lack of variety among the characters. Overall a solid 7.5 / 10.

In this suspenseful movie, we meet James Mason as he lectures about crime to a group of students. He is an eminent neurologist. In flashback, we learn of the girl whose eyesight he's saved. In the course of doing this, he fell in hove with her mother.

It's a murder-mystery; so that's as much plot as I'll give. Pamela Mason is appropriately unappealing as the woman's nosy sister-in-law. Mason, one of my favorite actors, is very good.

As a suspense movie -- a noir, of sorts -- it is excellent. It positions itself as more, unfortunately. Initially, it's intriguing to realize that the central figure in the case history Mason's reciting is himself. But there are red herrings. More distracting, there is philosophizing -- not to mention a most unsatisfactory final scene.