Un uomo da affittare

This is a thoughtful film that lays bare the inequities of the so-called upper class and those who work for them, the haves and have-nots. Robert Shaw does a creditable job in his role as the obliging, correct chauffeur, Steven Ledbetter, who helps Lady Franklin (Sarah Miles) overcome her mental depression at the outset. However, Steven has many mixed feelings regarding this lady of the upper class. He inevitably falls in love with her, which of course is overstepping the societal boundaries that separate them.

I have not read anything prior to this and only judge the movie as I have seen it. I consider it a very honest story about the realities of daily living and the conflict of what we might wish or expect from life and what we get. It's a fine drama worth seeing again.

Another of L.P. Hartley's tales of class and sexual obsession, this one was brought to the screen in 1973 by Alan Bridges, who also made "The Shooting Party", and despite winning three BAFTAs and the Palme D'Or at Cannes has all but disappeared. Like "The Go-Between" this, too, is about a relationship that develops between a titled lady, (Sarah Miles), and a member of the working class, (Robert Shaw), but unlike "The Go-Between", this is a somewhat small-scale affair though psychologically it is just as astute.

It is set in the years after the First World War and Miles is the young widow recovering from a nervous breakdown after the death of her husband and Shaw is the man hired to drive her around and who develops an unhealthy obsession with his employer and they are both superb. The fine supporting cast includes a young Peter Egan as a smug Liberal Member of Parliament and Elizabeth Sellars as Miles' chilly mother while the screenplay by Wolf Mankowitz is typically literate. In fact, you might describe the film itself as chilly. It is certainly old-fashioned but with a degree of frankness that would have been unheard of 20 years earlier and it deserves to be seen.

The novel was exquisite. I bought a good used copy after seeing the trailer. I finished the book and watched the film; I was confused because it is that different. As a stand-alone venture, it maybe decent enough but this is a great example of how not to adapt a well-written book! Read the book, please, then maybe watch this and be disappointed.

After watching "The Go-Between", author L.P. Hartley cried, being so moved by the cinematic representation of his novel. Had he been alive he may well have cried after watching "The Hireling" for the way his subtle novel had been vulgarized. But Hartley had died just before "The Hireling" was made and playwright Wolf Mankovwitz felt himself free to do as he pleased with Hartley's book. That in itself seems to be an act of great disrespect and worse, his changes are greatly detrimental to the work. It calls into question just what right does one have to so radically alter a work. There is little doubt that Hartley would ever have agreed to this version.

It's a great pity. The bulk of the film is well done, both Robert Shaw and Sarah Miles delivering strong performances. Adhereing to Hartley novel the overall effect would have so much more compelling.

Not only a disappointment, but a great annoyance at the presumption of lesser artists to tamper with the work of their betters.

A British drama; A story about an upper-class widow suffering from depression over the loss of her husband, who develops an unusual relationship with her chauffeur. This is an adaptation of L.P. Hartley's novel. It has a measured pace and a care for the telling detail. It shows the vast barrier between social classes, suppressed sexuality, and of a casualness. One side is cold, yearning for warmth; the other, striving but painfully frustrated yet they give one another the confidence one grants a stranger. Robert Shaw is remarkable as the chauffeur, an ex-sergeant major, ramrod straight, filled with a sense of class and keeping his place. Sara Miles's aristocrat is equally well drawn as the widow, childless, on release from a sanitarium. Their scenes are marked by intriguing sequences: long, uninterrupted car rides through an overcast, rainy Somerset. The work up to the final scenes is gentle and slowly paced to maximise tension. This is a film very well directed, earning the Palme d'Or in 1973.