À Beira do Cadafalso

Though I gave the 1935 version of Dickens' "A Tale of Two Cities" a higher rating (before seeing this version), I'd have to say that this film, directed by Ralph Thomas, is probably better for the most part. This movie, done in black and white, captures the atmosphere of the Dickens novel - the filth and the cruelty - beautifully. No Hollywood gloss here. The cast is strong: Dirk Bogarde, Dorothy Tutin, Donald Pleasance, Ian Bannen, Christopher Lee, Alfie Bass.

Though Sydney is one of Ronald Colman's great roles, it also proved to be a great role for Dirk Bogarde. As much as I love Ronald Colman, he can't quite help but come off as noble, whereas, you really could believe that Bogarde was a drunk and a waste before his final moments. Both men had the great gentleness required for the role. The end of this particular adaptation is very simple and beautiful.

I highly recommend both versions. This one, I think, is closer to the Dickens novel.

This is my favourite Dickens book and my favourite Dickens dramatisation. I remember reading that there had been some doubts originally whether Dirk Bogarde matinée idol could manage this part. Instead it was presumably his first chance to show the inimitable quality of his acting. He is perfect in this part and I cannot imagine anyone else ever doing it better although I'd guess Ronald Coleman could equal it. I've seen one other, more recent version and although Carton's actor had a good go at it, it totally lacked the amazing charisma Bogarde provided for what is one of Dickens' most poignant characters - flawed, fascinating, cynical, damaged but wonderful.

It's a crying shame this wasn't filmed in colour since the producers did consider doing so and then didn't. But the production and acting are so excellent that you soon don't notice it isn't colour as you become completely immersed in the movie. I suppose it's always possible the lack of colour actually enhances the drama, and for me this story is the most dramatic and poignant of all Dickens - a work of pure genius.

Dirk Bogarde was sufficiently established for Rank to allow him to star as Sidney Carton in this adaptation of Charles Dickens' classic novel

With someone of Bogarde's track record in the lead Betty Box could afford to gamble by casting the distinguished stage actress Dorothy Tutin - then young enough to be described as "a pretty little doll" - as his leading lady.

It's pretty perfunctory, and Bogarde's certainly no Ronald Colman, but he's louche enough at the outset, Rosalie Crutchley is a perfect Madame Defarge and Christopher Lee is a fine substitute for Basil Rathbone in the earlier version as the Marquis St. Evremonde; while it's fun to see 18th Century France peopled by such obviously British actors as Cecil Parker, Athene Seyler, Ian Bannen Leo McKern, Alfie Bass and Donald Pleasance.

This is a straightforward version shot in black and white with some location shooting at Loire Valley in France.

Pinewood Studios is used effectively enough, it is uniformly well acted and Bogarde gives an effective enough performance as the lead and a young Christopher Lee is a hiss-able French Aristocrat.

The story deals with the strands of the two most notable characters in the novel by Charles Dickens. Charles Darnay and Sydney Carton. Darnay is a French aristocrat who turns his back to the life of wealth and privilege but falls victim to the indiscriminate wrath of the revolution when the reign of terror begins.

Carton is an English barrister with a taste for drink who attempts to redeem his misspent life out of his unrequited love for Darnay's wife.

There is not much humour in the film because of the subject matter but the pared down story does do the film justice.

Summary: Ralph Thomas' direction makes this the best adaptation

The English 1958 interpretation of Charles Dickens' great novel "A Tale of Two Cities", directed by Ralph Thomas, is a really terrific picture, capturing the essence of Dickens' tale deftly. Thomas' craftily directed black and white adaptation lends itself quite tangibly and nicely to the purposes of the story, I would say more succinctly than the 1935 interpretation directed by Jack Conway. The earlier adaptation featured as many fine performances (Ronald Coleman, Edna Mae Oliver, Basil Rathbone, Blanche Yurka, etc), and succeeded in special effects and cinematography a little better, perhaps, than THIS picture, but Thomas' directing emphasizes the key points of the original story, and this becomes the better picture as a result.

Dirk Bogarde playing Sydney Carton is quite perfect here, and a young Christopher Lee as the conceit driven supercilious Marquis St. Evremonde is fantastic, as is Rosalie Crutchley as the cruel hearted revenge laden Madame Defarge. Cast-wise, both pictures do a great job, and Edna Mae Oliver's performance in the earlier picture is missed here. But the director uses a lighter brush to get many of the complexities of the story in this English version. In one scene, during the climactic period of the story in the dungeon of the Bastille, Barsad (Donald Pleasence), a character of low repute working for whichever side will use him, finally catches onto the heroism of Mr Carton and holds his hand out for a respectful shake. . . with no reply for several seconds. Then, just as he turns to open the door to have the guard take out Mr Carton, who by then is really a passed out Charles Darnay made to look like the supposed drunken Carton . . .the real Mr Carton (Dirk Bogarde) touches his shoulder, just enough to convey that a good angel is bringing hope to the world, even to low characters like Basard. It is very touching. This scene is handled with master craftsmanship by the director. And this sort of directing pervades the film's entirety, which is the primary reason why this movie IS the better of the two, in my opinion.