Esther Waters

Esther Waters is a turgid costume melodrama that is only brightened by the presence of Dirk Bogarde and Cyril Cusack.

Set in in 1875, it is fallen woman story. Esther (Kathleen Ryan) is employed as a maid in a country house and falls for the smoothie footman William Latch (Dirk Bogarde).

Latch is interested in his employer's horses and gambling. Not knowing that Esther is pregnant he abandons her and runs off with the daughter of their employer.

Esther a strong willed religious woman is now alone. She decides to raise her baby son and moves from a workhouse to other jobs as a maid. At times walking out because of her employer's attitudes.

Esther is a forthright woman that will not stand for any nonsense. She gets an offer of marriage from a preacher Fred (Cyril Cusack) but some years later William returns to her life.

Now William wants to be with her and her son. He has money from being a bookmaker and also has a pub which Esther decides to run.

Adapted from a novel, it comes across as a tawdry soap opera. Bogarde is a cad but he is also genuinely fond of her. Esther decides to be flexible about her religious beliefs as she decides to run a pub but will not allow gambling to take place.

Esther rises above her circumstances but it is a heavy handed film and Ryan is not suited in the title role. It should had been more lurid but probably held back by the censorship laws of the time.

If you like the British costume dramas of this era, then Esther Waters is for you. Set in the 1880s it follows a servant girl as she meets and falls in love with a young man whose mother she works for - then is shattered when he goes off with another woman, leaving her pregnant and broke. She endeavours to raise the child on her own, finding it difficult because the general public is extremely biased against young unwed mothers. The movie drags a bit, but it is worth a watch!

For me, the strength of this film is in the accuracy of the racing details, the costumes and the culture of the time. The racing scenes, shot on Epsom Downs recreate the Derby's of 1881 and 1885, and have been thoroughly researched, even the jockeys used for Fred Archer and Fred Webb show an amazing likeness. Also, the scenes in the streets, on the racecourse and in the public house are totally believable.

This is a film made by those who love and cherish the subject. Although to my knowledge, having worked at Racing Post for many years and, written the history of the Derby, very few people today know of the this film. Strangely, a few years ago, I awoke at 4 am, unable to sleep, to find the film just starting and have never seen it since! However, this film has much to offer - a Victorian romance, the struggle of conscious, excitement and, a ripping gambling yarn.

Michael Church.

Remembered today solely for containing Dirk Bogarde's first lead (actually second billed to Kathleen Ryan). This screen version of George Moore's socially concerned 1894 novel starts well with a wonderful opening pan across the Wessex countryside, like most postwar British films looks lovely and has an interesting supporting cast (including Cyril Cusack, Ivor Barnard and a young Pauline Jameson). But one's attention starts to wander as the heroine's fortunes eventually pick up...

Another little triumph for the marvellous 'Talking Pictures TV', this was a complete revelation. One of the most effectively set and shot costume dramas and a tour de force of a performance from a young Dirk Bogarde (his first starring role) and ably supported by Kathleen Ryan. The racing scenes are absolutely first-rate - as the authority, Michael Church, says above) with Derby Day as well evoked as I've ever seen it. Even a nod to Frith's 'Derby Day'. Made me want to read the novel. What a treat on a Saturday afternoon!