Messaggero d'amore

Invited by his upper crust classmate Marcus Maudsley to summer at his family estate thirteen year old Leo Colston is taken into confidence by Marcus's beautiful older sister Marian (Julie Christie) to act as a messenger to her illicit lover, local farmer Ted Burgess (Alan Bates.) Marian is engaged to Lord Trimingham (Edward Fox) whom Leo develops a strong liking for. This complicates matters for Leo who has the same feelings for Ted and out right affection for Marian. The child's innocence becomes a detriment however when he attempts to make sense of the adult world through inquiry of those very much involved and it holds drastic consequence for all.

Sumptuously photographed (Gerry Fisher) and magnificently costumed The Go-Between evokes an almost fairy tale milieu in it's early moments with summer in full bloom and the well heeled Maudsleys lounging in finery amid the lush green trappings of their estate. The Empire in 1900 is still sun 24/7 and the Maudleys, confident and mildly aloof, representative of that power. Seen through the adolescent eyes of Marcus we are exposed to the hypocritical trappings of class snobbery, stuffiness and rules of the game. As things begin to unravel the lush lazy days of summer become more storm ridden and the restraint and decorum of the Maudsleys frayed all of which is powerfully summed up and splendidly depicted by Director Joseph Losey in a scene that begins with Leo's birthday party with everyone festooned in paper party hats.

Losey's understated style does a nice job of slowly revealing his story for maximum effect. His use of flash forward, confusing at first, is spare but well utilized to tie lose ends together. The overall morose mood of the film is retained throughout though Lalo Schiffrin's score reeking of hysteria threatens it on more than one occasion.

Christie and Bates, Edward Fox as Twillingham and the young Dominic Guard are excellent fits in their roles but Margaret Leighton as Lady Maudsley turns on the jets as the film closes and walks away with the acting honors.

This movie is the third joint venture paring writer Harold Pinter and director Joseph Losey. The other two are The Servant (1963), and Accident (1967). This venture, combined with a top-notch cast, makes for a great film: No. 56 of the BFI's Top 100. Yet sadly, the movie has not been restored, in its original aspect ratio for DVD, and I had to see it on VHS in the full screen pan-and scan version.

I've a feeling that this is one of those films that MUST be seen in its original wide screen format, since the photography of the English countryside setting is crucial to the movie, and anything less does not tell the movie's whole story!

Michael Redgrave tells the story, in retrospect. It begins as a 12-year- old boy, Leo (Dominic Guard), comes to spend the summer of 1900 at a large English country estate. He is a guest there, and his relationship to the family is never made clear. We don't learn much about his background except what we overhear: that his mother is a widow from the city. As he is introduced at the family dinner table, he tells them that he knows magic and has conjured up curses on people, but this seems a game between him and the other boy his age on the estate, Marcus.

As the two boys play, the rest of Marcus' family starts to emerge as Marcus tells Leo about them while pointing them out. We view their lazy hot summer's life as they attempt to occupy themselves with conversation, nature, art, culture, and games. Leo attempts to fit in with the family led by its matriarch, Mrs. Maudsley (Margaret Leighton). Leo also becomes attracted to Marus' older sister, Marian (Julie Christie), and develops a puppy love for her. (At one point he proclaims that he would do almost anything for her.) She, in turn, shows an admiration for him.

One day as the family goes out for a swim, they encounter their lower- class neighbor, Ted Burgess (Alan Bates), who is trespassing on their property by swimming in their lake. Leo later meets Ted and is gradually taken into his confidence. At Ted's coaxing, he starts to secretly deliver notes to Marian, and she, in turn, returns notes to Ted, through Leo.

Feeling 'out of the loop,' Leo wants to know more. He eventually asks Ted to tell him about sex ('spooning'). At almost thirteen and with no father to guide him, Leo has never been told the facts of life. Yet, he senses that he should know more and that Ted will explain it to him-- though he never really does. When Marian becomes engaged to an upper- class gentleman, Ted seems displeased. However, after a brief break off in communications; Ted and Marian begin their secret exchanges again with Leo still acting as their dutiful Mercury-like 'go-between.' Then, on Leo's thirteenth birthday, he suddenly learns the shocking nature of his carried missives.

This film, accented by Michel Legrand's score, has a mysterious, almost Gothic, feel about it. There seems to be something always missing, just out of view, waiting to be discovered. But, just as Leo is never made part of the secret, neither is the audience--until the surprising ending.

There is always at least one reason for wanting to see any film and 'The Go Between' had plenty. Harold Pinter to me was one of the greatest playwrights/writers of the twentieth century, his prose is so insightful, very intelligent, not heavy-handed and sharp even if his screenplays may be too talky for some. Have had a high appreciation for Joseph Losey ever since first seeing his 'Don Giovanni' (one of the best opera films ever made) over a decade ago. Love the cast too.

1971's 'The Go Between' on the whole didn't disappoint. Like their previous collaborations, it is very good if not flawless. Even if it is again very polarising, can totally understand why it may not connect with some but personally do understand the positive reception more. If you like fast and furious pacing, prefer rootable characters and are not a fan of sparse dialogue and a lot of pauses, it's perhaps best looking elsewhere. If you are fine with deliberately paced films and like films that disturb and move through atmosphere, 'The Go Between' is likely to appeal. It is hard to say which is the best between this, 'The Servant' and 'Accident', as someone who thinks they're equally very good in their own way.

By all means, 'The Go Between' isn't perfect. Personally did find the score ill fitting tonally, too much like Gothic spy thriller from the 70s whereas a more elegiac, quieter period music approach would have been more suitable. And it could have been used a little less too.

Do agree with those that say that there are some muddled time shifts where the film jumps about a little structurally. The first 20 minutes or so drag a little too much.

However, all that is overshadowed by the huge amount that 'The Go Between'. It is gorgeously filmed and the Norfolk locations are stunning too. Losey's direction is very atmospheric and accomplished, and Pinter's dialogue is unmistakable Pinter, not wordy or constant but very poetic and thought provoking. The story is deliberate, over deliberate to start with, and also tense and moving with its portrayal of the class system and divide being biting and insightful in how regressive and manipulative it was in the time period depicted in the classic source material.

Can't fault the acting, Dominic Guard's performance has garnered a very polarised response, to me he was fine. Julie Christie and Alan Bates smoulder beautifully in their roles, though Bates' character is underdeveloped due to the amount left out, with a chemistry that makes one believe in the romance. Margaret Leighton is also very powerful and commands every second of her screen time.

In summary, very good if not without flaws. 8/10.

I recently watched this film after having seen it as a teenager. Both experiences touched me but in significantly different ways. Not unlike the storyline in the film ironically.

The film is beautifully crafted and almost perfect in every way. All the actors are brilliantly cast and do a great job at hiding only slightly their true emotions and motivations. Those who know and love The Age of Innocence will appreciate the way the story unfolds.

At its core is the story of how class norms and rigid rules of behavior affect an innocent young boy, at what surely is his most vulnerable time of his life.

Some may find the pace slow. I did when I first saw it as a teenager. Please give this film time to develop. Resist those swift "5 minutes and I am out" rules so many millennials tend to apply today. Resist please. And above all, give your full attention to this small masterpiece. Watch for the small changes in tone and body language these great actors provide us.

Then, when young viewers are a little older and life has provided them a few joys and pains, please revisit this film as I did. I sense your emotions may bathe over you as mine did recently.

Enjoy this film.

The period piece films of Ivory-Merchant have nothing on Joseph Losey's The Go Between. In fact I'm sure that James Ivory and Ismail Merchant more than likely modeled their own films on the ambience of Victorian England that Losey gave to this fine production.

Young Domenic Guard is invited to spend his summer with his school chum Richard Gibson's family in their country home. The Maudsleys live in grand style and Gibson's parents are Michael Gough and Margaret Leighton. When Gibson comes down with the measles, the hospitality slack is taken up with his older sister Julie Christie. She's engaged to Edward Fox cricketeer and Boer War hero. They all make Guard feel quite welcome and he has the run of the place.

The Go Between is set in those more strict and innocent times and it could never work today. But given the lavishness of the sets and costumes you really do feel you're back in the post Boer War days of Queen Victoria. And a young kid like Guard's character at thirteen could really be as innocent as he is. But he is approaching puberty and he's got lots of questions.

On a family outing he and the rest meet up with farm hand Alan Bates, a rough type. Pretty soon for his new friend Christie young Guard finds himself taking messages back and forth to Bates from Christie and vice versa.

She may be marrying Fox, but it's Bates that gets her mojo working. Back in those days only Viennese like Sigmund Freud and his colleagues were discussing things like that. Losey with scriptwriter Harold Pinter nailed those Victorian attitudes down quite well.

I can't believe that The Go Between got no Oscar recognition in either the set or costume design categories. Margaret Leighton did receive an Oscar nomination for her role in the Supporting Actress category. Her scene with young Domenic Guard as she suspects what's going on with her daughter is well played by both.

The Go Between is a great expose of Victorian manners and morals and a sumptious piece of film making.