Leilão de Almas

I came to this film not having seen Room at the Top (1959) and not having read the novel. So my thoughts are based on it being a stand alone film - which might be a failing on my part, it is a sequel after all. I suspect this film was made (like so many sequels) on the back of the success of Room at the Top, rather than a stand alone piece of work. Anyway, my view of this film must be taken in this context.

Notwithstanding it's production in 1965 it somehow felt dated, perhaps exacerbated by being in black and white. The themes and the characters all seemed so stereotypical, outmoded and emotionally shallow. The main character played by Laurence Harvey (Joe Lampton) was very hard to like, he didn't seem to have many redeeming facets to his personality at all, often I felt I didn't really care what happened to him. There needs to be something in a main character to carry you through the story from beginning to end, not as in this case a man managing with a colossal chip on his shoulder. This wasn't the fault of Mr Harvey - more the way his character was written. This pretty much goes for all concerned. A superb cast do the best with what they have, hamstrung by what is often wooden dialogue.

My interest was only sustained by seeing the film as a document to mid-sixties England, the gorgeous Jean Simmons and glimpses of some fabulous cars - especially a Maserati Quattroporte.

The Kitchen Sink was beginning to get a bit clogged up by the time "Life at the Top" appeared. This was the sequel to Jack Clayton's "Room at the Top" and the critical reception was a good deal cooler than it was back in 1959 which was a pity as this is a pretty good film. Joe, (Laurence Harvey, obviously, and very good indeed), hasn't really changed his ways. He's still married to the boss' daughter, (now played by a superb Jean Simmons), but he embarks on an affair with TV anchor woman Honor Blackman while wife Susan plays around with Harvey's friend Michael Craig.

There isn't a great deal that is new in Mordecai Richler's script which basically rehashes the first picture, (and Blackman is certainly no match for Signoret), but director Ted Kotcheff keeps it ticking along very nicely and Oswald Morris' cinematography is definitely a bonus. In the end it boils down to the chemistry between Harvey and Simmons and they certainly rise to the occasion. No classic then but no turkey either.

As a sequel to "Room at the Top" by the same author John Braine, it is less passionate but more intricate and psychological, as Laurence Harvey finds himself in the difficult position of being married to Jean Simmons, the daughter of a prominent businessman (Donald Wolfit) who gives him everything as his son-in-law except integrity and self-respect. He finds himself at a loss missing this most important thing in life as his wife deceives him with his best friend, and he tries in desperation to find an alternative, which he believes himself to find in Honor Blackman, a successful political TV journalist. The experiment is not very successful though, and he still considers himself stuck in the net of his father-in-law, while Jean Simmons is very different from her father. It's a complicated case which poses many problems and questions, but ultimately there seems to be some solution in the form of some compromise. The cast is excellent, every actor here is super and just right, even Robert Morley as a competitor of Donald Wolfit adds to the party, and above all this is a humanly interesting film, posing questions and problems of marriage, position, career, integríty and loyalty/disloyalty - an extra touch of excellence to the film is Richard Addinsell's music, which is needed indeed in the bleak environment of industrial Yorkshire. Jean Simmons as always lifts the film to a very interesting level, Laurence Harvey is an excellent match for her in acting, while all the others merely add details to the predicament of these two. If you have seen "Room at the Top", this will not be a disappointment to you.

"Life at the Top" from 1965 is touted as a sequel to "Room at the Top," which it is, but you could watch this without having seen "Room" without much problem.

Joe Lampton (Laurence Harvey) has had his dreams fulfilled - he's married to the boss' daughter (Jean Simmons), he's working for his father-in-law in a high position, and he's managed to squash his lower-class upbringing. However, he's miserable. He's bored out of his mind and angry with his wife, who keeps getting her father to pay for things. When he meets a pretty TV correspondent (Honor Blackman) he perks up.

This is a good movie with an excellent performance by Laurence Harvey, who really picks up where he left off with Joe Lampton, angry, ambitious, resentful, and womanizing. Jean Simmons is in the Heather Sears role, and she's wonderful - beautiful, sensual, and determined to keep her husband despite her own failings. I've always thought Simmons was highly underrated as she was always in competition with Audrey Hepburn and other bigger stars of the day for roles. She is glorious in her British films that she made when she was very young, and of course, Elmer Gantry and Angel Face, to name only two.

Worth seeing, and it answers the question, will Joe Lampton ever find happiness?

This worthy sequel to "Room At the Top" (1958) reunites a few from the old gang, Laurence Harvey, Donald Wolfitt, and Allan Cuthbertson and welcomes Honor Blackman, Nigel Davenport and Robert Morley. Heather Sears has morphed, somewhat improbably, into Jean Simmons. DP Oswald Morris conveys a sense of doom in the saga of Joe Lampton, which could be subtitled, "you may take the boy out of the proletariat, but you can't take the proletarian out of the boy." Rigid class divisions, more a feature of England than most other countries, are clearly limned here. John Braine's themes of sin, forgiveness and redemption are well-articulated.