Il capro espiatorio

This movie has such an interesting premise, I almost don't want to tell you about it. As it unfolds, the twists and turns will keep you on your toes from start to finish. Let's start off with the least surprising part of the movie: Alec Guinness plays dual roles. He loves disguises, so it's no wonder he was drawn to The Scapegoat. One Alec Guinness is wealthy, titled, living in luxury with a wife, stepdaughter, and mistress. The other is an inconsequential college professor with apathy for everything in his life. When one Alec keeps getting mistaken for the other, he's confused. When he finally sees his own reflection looking back at him from across the bar, he gets to know the man he might have been. It's very fun, with trick camera angles, and reminds us of all the eight roles he played in Kind Hearts and Coronets.

Well, I've made up my mind: I won't tell you the plot. All you need to know is that it's a tense thriller with two Alec Guinnesses. This is far from an Ealing comedy, so don't expect to laugh. There is one sad part to the movie, one you should be aware of if you're a Bette Davis fan and don't want to see her in her Baby Jane phase. She plays a bedridden morphine addict, and her over-the-top acting style is as out of place in the late '50s as it was in the '60s. I prefer to see her in her prime, but it was still great to see Alec playing his two parts. Check it out!

"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.

As part of a birthday celebration of the late Sir Alec, TCM placed this seldom shown character study in between two hilarious Guinness farces, "Hotel Paradiso" and "All at Sea." In combination with "The Malta Story," "Scapegoat" allowed Guiness to indulge both his more serious dramatic inclinations as well as play another double role, something for which he was a master. His "Kind Hearts and Coronets" is the tour de force of this genre of multiple identities.

This adaptation of Du Maurier's novel has also the advantage of five strong female leads, three of them, Bette Davis, Irene Worth and Pamela Brown, known in their own right for their dramatic achievement. Actually, all of the supporting roles are excellently cast, even to the faithful manservant, Gaston, and especially the count's precocious and very articulate daughter.

Bette Davis, as the matriarch, sets the tone for neurotic tyranny in this family; but it is a role that could have been less of a caricature if Dame Wendy Hiller had played it instead (See Dame Wendy in "Murder on the Orient Express" for the epitome of "noblesse oblige.") In the role of the wife, Irene Worth gains some of our sympathy as the high-strung and beautiful, sensitive but persecuted spouse unable to give the count a male heir. Her mobile and expressive face is a perfect foil to Guiness's stoic reserve.

As the count's sister, Pamela Brown's natural reticence and grave air, her huge luminous eyes and rich voice (which can be savored in an earlier role in "I Know Where I'm going") made her a likely choice in the role of a sibling, however, the differences she shares with her brother are not resolved nor explained, neither is her motivation for being so antagonistic toward him. In other words, through the eliptical, somewhat ambiguous dialogue, there is a history or subtext of sibling rivalry of which we must remain ignorant. (Perhaps the novel delineated this more clearly.)

Despite the strong and balanced cast, I found the ending a surprise and a slight disappointment. For me it failed to resolve Guiness's relationship with the other females save one, his lover. Therefore, despite the putative attempt to plumb his character, it remained an identity problem hardly more than skin deep. Still, all in all, it is a fascinating attempt and a rare chance to see Guinness in a noncombative drama with strong females, somewhat like a diamond set among a ruby, emerald and pearl.

Of four stars, definitely a strong three*** for the excellent cast.

According to Piers Paul Reid's biography nobody got along with anybody involved with the making of The Scapegoat. Not star Alec Guinness, director Robert Hamer, author Daphne DuMaurier and screenwriter Gore Vidal. Maybe had everyone been in sync The Scapegoat might have turned out better and been one of Guinness's classic films.

Like Kind Hearts And Coronets, Guinness has more than one role. He's both a teacher of French at an English school on holiday in France and a French count for whom he is a double.

After a night's carousing with his twin English Alec wakes hung over wih identification gone and the French Guinness's in its place. With no reasonable explanation to offer English Alec decides to enjoy the life of a French noble.

Those includ wife Irene Worth, Sister Pamela Brown, Annabel Bartlett and a demanding mistress Nicole Maurey the only French person in a film set in France..

As Guinness gets acclimated to a new identity he really gets involved with the family and their problems. But when Worth is killed in a fall while he's away from the family chateau, one Guinness realizes the other is setting him up.

Watching The Scapegoat I was expecting some sophisticated comic lines to emerge. This being an Alec Guinness film. It never developed that way, but several times it seemed on the brink.

Bette Davis plays French Alec's grande dame of a mother and the role is done in grand Bette Davis style. According to the Guinness biography Davis disliked everybody on the set and it was like she was giving them all acting lessons.

If everyone had been in tandem The Scapegoat could have been a better film.

There was more than one reason for wanting to see 'The Scapegoat'. Alec Guinness was an enormously versatile actor who played two or more characters in the same film better than a lot of actors (i.e. his tour-de-force work in 'Kind Hearts and Coronets'). Also have always hugely admired Bette Davis and really like to love many of her performances. Daphne DuMaurier was a fine author, and while adaptations of her work varied some of them are truly fine indeed (i.e. 1940's 'Rebecca').

Sadly, 'The Scapegoat' is really not one of her better adaptations. Not an awful film by all means, but its troubled production (most of it revolving around Davis, apparently intolerable to work with with almost nobody being on her good side) is evident all over it throughout and only Guinness and composer Bronislau Kaper come off completely unscathed. Everybody did much better work before and since, for me in particular Davis' performance, coming up to her twilight years period, is one of her worst and it is a shame because she was one fine actress.

Guinness does a noble job in his two roles, underplaying without looking uncomfortable or bored. Irene Worth, Nicole Maurey and Pamela Brown do well with what they have, their characters could have been written with more meat but Worth particularly makes the most of it. 'The Scapegoat' is nicely and professionally made, especially the photography with seamless work done with making the double roles not too obvious.

Kaper's score is both beautiful (with a sumptuously orchestrated but not gloopy love-like theme) and ominous, with shades of Rachmaninov in the piano writing in the main and end title music. Not overbearing what goes on. Enough of the script intrigues and once the film gets going it doesn't feel overly wordy.

It takes time to get going however and some of the plotting later on in the film gets over-complicated and muddled. The book's plot is pretty complex too but not to this extent. Robert Hamer's terrible struggles behind the scenes shows in his direction, which is too often ill at ease and pedestrian.

On the most part, 'The Scapegoat' could have done with a lot more edge and suspense, of which there is not enough of here and they were things that were very much there in the book. The ending takes ambiguity way too far with things crying out for resolution that didn't come and it confused the film even more. As good an actress Davis was, her outrageous hamminess here felt like it came from another film as it really didn't gel with everything else.

Concluding, am very mixed on this film. Has its strengths but too many big problems. 5/10