L'incidente

From the very first shot Losey lets us know that to get the most from this film it's not what you see, but what you perceive, that matters. The opening shot of a country house is held steady for our eyes whilst the sound of an approaching (speeding) car and, inevitably, the grinding of metal on gravel as the accident happens, dominates our hearing. And so it is for the rest of the film. What is important is not, necessarily, what we see, but what we discern.

The complexities of the relationships between the main characters, the effect on all of them brought by the simple presence of Anna (Sassard), their infidelities and insecurities all contribute to make this a spell-binding 100 minutes or so of classic cinema.

The spare, Pinteresque, dialogue inspires the viewer to attempt to untangle the dynamics between the characters. Some poignant photography (for instance, the symmetry of Anna and Stephen (Bogarde) as they gaze out over picturesque English countryside whilst leaning on a gate but, at the same time, teasing us as to whether or not they will draw closer,) adds to our desire for a better understanding of these people and their relationships.

The photography of rooms shot from odd angles (indeed, some of these shots seem designed to accentuate the angles of the characters every bit as much as the rooms themselves) all contribute to a complex web of relationships. Some sexy, sixties sax from John Dankworth adds an appropriate musical blend to the whole. And how many times does Stephen say to others `What are you doing?' as he strives to come to terms with his own infidelities and insecurities, let alone those of all those around him?

It's an intense, but approachable, movie with little concession to humour, save perhaps for a couple of comments from Stanley Baker's picaresque character, Charley. But don't let that put you off; this is intelligent, challenging cinema, a welcome refuge from the shoot ‘em up stream of movies we've become used to over the years.

I can't agree with one reviewer here who states that "Accident" is the best of the Losey-Pinter collaborations. I much prefer "The Servant." "Accident" is about just that -- the film begins with a dreadful car crash and Stephen (Dirk Bogarde), an Oxford don, coming to the site and rescuing the young woman, Anna (Jacqueline Sussard) and taking her back to his house. The other occupant is dead.

The story unfolds from there, going back to what led up to this event. Stephen is going through a midlife crisis. He has two children, a pregnant wife, and not quite the success of his friend Charley (Stanley Baker) who has a television show. Stephen finds himself attracted to one of the students he tutors, Anna, but can't quite muster up the courage to approach her. Another student, William (Michael York) is a friend of hers; Stephen can't quite figure out the relationship, even after a night of boozing it up a la Virginia Woolf. Then he finds out something very interesting.

This has to be one of the slowest-moving films on record, filled with those famous Pinter pauses and emotions underneath the surface. And here, they're really underneath. Buried. John Coldstream quotes Michael York in "Dirk Bogarde" about being told "you can't underact," that film is so subtle a medium, the less you do, the better it is. Well, in "Accident," that's been taken to a new art form. York was impressed that while doing the scenes, it didn't come off like they were doing anything until you saw it on film. I don't know what film he saw.

The other problem with this film, and maybe it was just me going into an advanced stage of blindness, which I wasn't aware of, is that the night shots were black. I really couldn't see what was going on.

That all being said, the basic story is certainly a compelling one, of people leading normal, outwardly successful lives, with turgid emotions and unhappiness churning underneath. The scenes after the accident between Sussard and Bogarde are very striking and disturbing, as is the final moment of the film. We are reminded that what's on the surface has nothing to do with what really is in the heart.

"Accident" was a terrible emotional drain on Dirk Bogarde; unfortunately, because of the direction, we don't get to see why. He was a remarkable actor, but like any actor, he's a victim of the director's pacing and concept, not to mention the script he's handed. This could have been much better, right up there with the searing drama of "The Servant." Alas, it isn't.

After the titular "Accident" kills sexy young Michael York (as William), we flashback to the events leading up to his death. The exotically beautiful woman surviving the crash is Mr. York's fiancée Jacqueline Sassard (as Anna), an Austrian princess. Both she and York are students at Oxford, where Ms. Sassard arouses irresistible sexual interests from professors Dirk Bogarde (as Stephen) and Stanley Baker (as Charley). With legs up to there, Sassard was made for the shorter skirts popular in the 1960s, as you'll witness along with Mr. Bogarde, director Joseph Losey, and impressively promoted-to-photographer Gerry Fisher. The story mainly involves Bogarde succumbing to middle-age sexual angst...

The stark agony of forbidden desire is written on Bogarde's face...

It's almost too subtle in spots, but Mr. Losey and the crew take great care, and make visually beautiful film. Mr. and Mrs. Harold Pinter are obviously valuable participants. The performances are uniformly excellent, with Bogarde winning some "Best Actor" award consideration. York and Mr. Baker could have easily won "Newcomer" and "Supporting" awards. Baker's characterization is almost horrific. York went on to have a commendable career. Young Sassard makes a good impression; it's strange to see her career credits are so few. Losey and soundtrack composer Johnny Dankworth canoe in an aloof homage to Roman Polanski's "Knife in the Water" (1962), which seems entirely appropriate.

******* Accident (2/6/67) Joseph Losey ~ Dirk Bogarde, Stanley Baker, Jacqueline Sassard, Michael York

Following their work on "The Servant" (1963) and before the more well-known, "The Go-Between" (1971), "Accident" can be seen as the best - certainly the most understated - of the collaborations between the English playwright, Harold Pinter, and the expatriate American director, Joseph Losey, who had lived and worked in London for some years.

As Pinter said in a 1966 interview: "So in this film everything is buried, it is implicit. There is really very little dialogue, and that is mostly trivial, meaningless. The drama goes on inside the characters." In the published screenplay his directions for one scene indicate that "the words are fragments of realistic conversation. They are not thoughts..." and what comes across is the brilliant contrast between the nondescript, mundane, day-to-day attempts at communication between the characters combined with a hard look at the underlying reality of the characters' situations. Nothing is like it seems to be.

If you like the work of Harold Pinter, this rarely-available film, is a brilliant addition. See it in combination with the other two to get a full picture of what Losey and Pinter achieved. I've seen the films at least 10 times each and they formed the basis of my 1974 MA thesis on the Pinter-Losey collaboration.

"Accident" was a somewhat ripe little novel by Nicholas Mosley about the sex lives of dons, (of the Oxbridge type rather than the Juan or Giovanni kind). It was a good book but hardly memorable. The film that Joseph Losey made of it, however, was a different kettle of rancid fish altogether. Harold Pinter wrote the script and it's a brilliant piece of work, as acerbic, as nasty and, by God, as intelligent as any of his celebrated theatre work and Losey's direction is pitch-perfect. Perhaps no writer and director were ever quite as in simpatico as Pinter and Losey. The film is told in flashback. It opens stunningly with the accident of the title that introduces us to three of the central characters; the driver of the car, the young woman with him and the don who finds them. The driver is a young Michael York, the girl is Jacqueline Sassard and the don is Dirk Bogarde, magnificent here in a performance as fine as his work in "The Servant" or "Death in Venice". The film then jumps back in time as we meet the other characters caught up in the sexual shenanigans; Stanley Baker as another don, raffish and full of bluster where Bogarde is introverted and ineffectual and Vivien Merchant as Bogarde's pregnant wife. They, too, are superb but then everyone, no matter how small their part, is superb; everyone is there for a reason. Primarily this is a film about sexual tension and unfulfilled desires, about petty jealousies and how all this sublimated sexual longing can lead to disaster. It is a film made up of long, virtuoso passages; a drunken Sunday lunch that turns into a drunken evening of recrimination and which brings all the main characters together, Bogarde's visit to an old flame, (Delphine Seyrig), a cricket match and, of course, the crash itself and it's aftermath which is, naturally, sexual. This is great film-making, quite rare in British cinema. Paradoxically the film is among the most English and, at the same time, among the least English of pictures. Superbly photographed, too, by Gerry Fisher and with another great Johnny Dankworth score this is a masterpiece.