A Mulher que Pecou

I was a tender 14 years old in 1962, when I accompanied my mentor (my high school Spanish teacher) to an art house movie theater in Greenwich Village to see this film. My only previous encounter with Leslie Caron had been in the wonderfully entertaining film "Gigi". I must say, this two hour spectacle of unrelieved misery came as quite a shock to me. I left the theater thinking I had just seen the most depressing film I had ever seen in my life. And yet...I loved it! In fact, I felt very grown up at having survived it. This would not have been possible without the aid of the movie's soundtrack, Brahm's Piano Concerto No.1, which my astonished ears heard for the first time that evening. I've been in love with that piece--and with Brahms--ever since.

I saw this film first when I was twenty and, for me, it summed up all the anguish of being young, female and alone in London. The performances are magnificent, and at the time, I found Tom Bell to be quite attractive. I later went off him when he was successively portrayed as a seedy villainous type. The thing which completely mesmerised me at the time was the music (Brahms First Piano Concerto). I haven't read any other comments about the music and I am interested to know if anyone else was as affected by it as I was. It is, of course, a fabulous piece but this was my first introduction to it. I was a music student in 1962 but in common with many other music students of the time, not very knowledgeable. I immediately became very passionate about this piece.

One of the best of the so-called "kitchen-sink" films, THE L-SHAPED ROOM is nearly perfect. The set decoration probably deserved an award for the way it evokes, with poetry, the incredibly realistic environment of a down-and-out London rooming house. As many commentators have noted, this film avoids clichés and gives us real-seeming characters played by gifted actors. There is not a single weak link in the cast, with Tom Bell, Avis Bunnage, Brock Peters, Cicely Courtneige among others providing so many memorable moments. At the heart of the film is Leslie Caron in an award-nominated performance that is not likely to be forgotten by anyone who sees it. This is a performance that elicits true feeling, done with a kind of invisible artistry, so it seems completely real. Bryan Forbes, one of Britain's finest directors of the period, paces the film well, relying on Caron and others to fill what may have been longueurs with true meaning. The only criticism is the use of the Brahms First Piano Concerto in the soundtrack. The surging romanticism, while appealing in itself, doesn't fit very well with the mood of the film, apart from a couple of quiet scenes. It's certainly not a big problem, only it seems an odd musical choice. A deeply affecting, unforgettable film.

Forlorn Frenchie Leslie Caron--27-years-old, unwed, pregnant and alone--takes a room in a British boarding house bustling with funny, mercurial people. Next-door to her is a black jazz musician, while downstairs is a handsome writer (who, naturally, hasn't sold anything in months). Down the hall from the writer is a lesbian shut-in, also a man-hungry landlady and two prostitutes. Bryan Forbes directed and adapted Lynne Reid Banks' book, taking careful steps to let this humanistic tale unfold as naturally as possible (when Caron upsets the horn-player, she talks so sensibly to him at his door that his initial anger suddenly seems unfounded and embarrassing). Certainly the dramatic and romantic predicaments which transpire are familiar, and Caron's insistence on keeping her condition a secret is a little bit nutty, no matter how afraid she is. However, the dignified film has a bittersweet tinge to it that draws one in, and the cast is uniformly strong (especially Caron, doing Oscar-nominated work). A few of the arguments become repetitive, though Forbes handles the characters sensitively. It's a happy/sad piece with a lovely message which says people change, they come and go, yet the rooms they once occupied carry on without them, renewed with fresh voices. Caron lost the Oscar to Patricia Neal in "Hud", but she won the BAFTA for Best British Actress. *** from ****

I first saw this film when I was I'm my early teens and for some reason it always stuck with me. Some 30yrs later, I watched it again last night and was awestruck by the performances in this fine fine film.

Leslie Caron was nominated for an Oscar for her role and won the Golden Globe and BAFTA for her performance .. and rightly so. Such a touching, understated delivery that will have you too fall in love with her character Jane.

It's hard to believe I am only the 2nd user to comment on this forgotten gem. Films like this really illustrate the dire state of motion picture making these days. They sure don't make em like they used to folks.

Available on DVD, unfortunately not in it's original aspect ratio. Perhaps one day someone will release it in wide screen to truly appreciate the gritty black & white photography.

Highly recommended .. a flawless film throughout !