Il capro espiatorio

Provincial University professor from England chances to meet his diabolical, selfish twin while on vacation in Paris. Daphne Du Maurier's novel gets a highly polished screen-treatment, with star Alec Guinness very fine in the dual role, the split-screen photography and editing pulled off with skill. After being tricked into assuming the French nobleman's eccentric life, the teacher finds himself settling well into this new role as a business tycoon and family man--until his glinty-eyed look-alike returns. Bette Davis has a small but important, amusing role as a dowager Countess, and there's also a wreck of a wife, a wise little girl, a loyal chauffeur, and an Italian mistress. Gore Vidal worked on the adaptation, and the literate script is absorbing yet constricting for the teacher-character (he can only attempt to explain so much without throwing the whole plot off-course). There's a lot of talk in the early stages that the Count is delusional and perhaps schizophrenic, all of which is quickly dropped once the teacher assumes his life. Still, it's a smartly-planned movie, one without hysterics or false dramatics. Guinness seems a bit uncomfortable at times, though this may have been intentional and is acceptable behavior here. A very entertaining film with some weak or disappointing passages, but just as many adept ones and a satisfying finish. *** from ****

The Scapegoat has flown under the radar over the years and while it's not a classic movie, it is pretty compelling. Just watching the glorious Bette Davis carve up the scenery without moving a muscle is worth your time alone!

Actually; the entire cast is exemplary....

Peter Sallis (you'll recognize the voice/face) makes a very brief appearance at the beginning of the movie as a customs inspector. He must be 100 years old by now! Geoffrey Keen is sublime as the manservant, Gaston. For me, though, the irascible daughter steals this movie and makes it her own. The jolly hockey sticks are strong with this one!

An odd beginning and an unsatisfying ending...

I haven't read the book, but it's never clear to me if the innocent French teacher on holiday in France was deliberately set up way in advance or he really did just meet his doppelganger by chance and allow himself to be dragged into this vortex of intrigue.

But that aside, when John Barrat eventually arrives at the large house and is welcomed as Jacques De Gue, that rather messy start is forgiven and forgotten.

And the ending also fails to satisfy completely, too. I'd like to have seen how his future gets worked out with his adopted family. Instead, we see him snogging his mistress.

It's nice to see France as it once was and how I remember it in my childhood on holidays. Quiet, with serene cobbled streets and ancient houses. I can still remember the powerful smell of fresh French bread in the mornings... What a shame all that is now gone.

Sir Alec underplays his part and casually strolls through the fantastic situation that he's been thrust into. I'd like to have seen David Niven have a shot at this. I think he would have made this movie a lot more exciting... but it is what it is and it's still a pretty interesting way to spend a rainy Sunday afternoon!

"The Scapegoat" starts out with a clever premise and the promise of intrigue, but soon settles down as a character study marked by good, solid acting. Alec Guinness is the star with a dual role, first as a drab professor with an empty life, and then as the scion of a wealthy family who parties, womanizes and neglects his family. They meet and decide to switch places. The professor now has a life, but the rich guy vanishes.

Now follows an absorbing story, based on a novel by Daphne DuMaurier, as the professor enjoys his new surroundings and tries to inject some heart and purpose into his new life, which arouses some suspicions. This may have been a novella fleshed out to a feature-length movie, and I say this because the picture does go on, and the pace is somewhat sluggish - that is, until the surprise ending.

Guinness, Irene Worth and Nicole Maurey put this British/MGM film over with superb acting, with an enlarged cameo by Bette Davis. "The Scapegoat" is something of a departure for Alec Guinness as he gets to show off his considerable acting chops, and there are no comic interludes to be found. The viewer is kept in the dark regarding a solution until the very end, and the end is worth the preceding 90 minutes.

Alec Guinness once again plays a dual role. In this one, his two personas are that of a wicked French count and a benign Englishman. Despite some interesting supporting cast, including a very Baby Janeish Bette Davis, the story seems somehow only half told, and the two Guinness characters remain frustratingly underdeveloped. We sense a conflict between good and evil, but we are never made to understand why this is nor how it came about. The ending is frustrating in the extreme.

I decided to write this primarily to point out the appearance of Donald Pleasence as a desk clerk. Up till now, he remains uncredited.

All of this said, I would still recommend watching this oddity the next time it happens to come around. It is Alec Guinness, afterall.

Based on a Daphne du Maurier source-text, THE SCAPEGOAT is very much in the tradition established by Hamer's more famous earlier film KIND HEARTS AND CORONETS (1949), also starring Guinness. In this film Guinness plays two roles; that of a mild-mannered university teacher whose identity is stolen by a rakish French aristocrat. The university teacher takes over the aristocrat's life, and proves rather good at it; so much so that he does not want to recover his old life when the aristocrat asks him to. The climax is a violent one. Hamer's film, although set in France, takes a particularly English approach to death; the performances are quietly understated, and the atmosphere of menace restrained. Bette Davis seems rather out of place in a cameo role as the aristocrat's mother; her grande dame performance, complete with rolling New England vowels, contrasts starkly with that of Guinness. The ending is a bit peremptory, betraying the fact that THE SCAPEGOAT was not without its production difficulties, especially when scriptwriter Gore Vidal had to deal with an increasingly alcoholic director. Nonetheless THE SCAPEGOAT is definitely worth a view, if only for Guinness' versatility as an actor.