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THE TRIPLE ECHO is a sedate, slow paced psychological drama with a few characters interacting in a barren and isolated landscape. It's a one-of-a-kind type film that offers up some interesting characterisation and an unusual storyline. The film was directed by Hollywood director Michael Apted (GORILLAS IN THE MIST) as one of the first things he made outside of television.

The unknown-to-me actor Brian Deacon plays a frustrated young soldier who happens by a lonely farmhouse occupied by grieving widow Glenda Jackson. The two embark on an affair, although it transpires that Jackson is a little disturbed by her history. For his part, Deacon's had enough of the army, so he decides to go A.W.O.L., masquerading as Jackson's sister. Their happiness is short-lived when other local soldiers call by and one of them takes a shine to Deacon, mistaking him for a woman.

The cross-dressing aspect of the tale is what makes this unusual. It's hard to believe that the rugged Oliver Reed would genuinely mistake Deacon for a woman, but there you go. The climax has an air of inevitable tragedy to it, so a sense of foreboding seeps over the latter stages of the film. The central performances are subtle and effective, although Reed is something of a scene-stealer as the flamboyant and utterly horrid army sergeant.

In any movie where a man has to dress up like a woman, for whatever reason, there's the one genuine manly male who wants to give that so-called female a test ride wherein the truth will be discovered...

So when it's stocky firebrand Oliver Reed as a World War II era tank sergeant, lusting after a deserted soldier hiding out in widowed Glenda Jackson's rural chicken farm while (romancing her and) posing as his sister, this otherwise searing romantic drama turns into a heated thriller...

That's because Reed (reunited with his WOMEN IN LOVE co-star Jackson yet sharing more scenes opposite fitfully feminine/literal pretty boy Brian Deacon) is like a bomb ready to explode: in more ways than one...

And he's never been so frightening and formidable, also providing Michael Apted's THE TRIPLE ECHO a sense of horror/exploitation in a bizarre curio that, while predictable, you'll have to squirm through till the end.

The Triple Echo is, for want of a better word, queer. It's hard to see what commercial appeal the film ever had, if indeed if ever had any. It is also hard to see how the production team and the actors ever felt that it could have much merit as art or entertainment. That's not to say that it is a bad film, for it has plenty to recommend it; it just seems necessary to point out that it is a truly odd project to have been considered for the big screen.

The story tells of a widowed woman living on a farm during WWII. A deserting soldier appears on her property seeking shelter; she takes a liking to him (he is, after all, helpful and energetic around the farm) and eventually decides to help him to evade capture by disguising him as her sister. However, a crude army officer from the nearby garrison starts to fancy "her", until he realises that "she" is actually a "he".

The three principle performances are very good, and the English countryside is painted lovingly throughout. The ending contains a genuinely surprising and jolting twist. There's even a brief dash of sex and bad language to give the film a bit of that typical 70s realism (though, obviously, the story is set during the 40s). What damages this film is the fact that it is such a thin and directionless story. This would have made a splendid 60 minute TV drama, but as a feature length theatrical release, there is simply not enough material to keep you intrigued, interested and entertained for an hour and thirty three minutes or so.

I have loved this film ever since I first saw it, so much so that I had bought a VHS tape AND the player, as this forgotten gem is unfortunately still not available on DVD. I will not explain the plot, as the synopsis is covered rather detailed on the first page, but concentrate on the specifics. Michael Apted, from the first shot, creates a certain mood of the film which is very effective that once in, the viewer is fully engaged to the end (despite certain plot and screenplay shortcomings) and that is isolation and loneliness. And this emotion is shared by all three central characters, shaping their decisions and actions. A fitting title, as well, as we do have a three-way character development here. They all want the same things. Brian Deacon's loneliness is in his alienation and is very much a need to belong. Oliver Reed's is purely physical and Glenda shares both. All the actors are very good in their portrayals. However, Glenda Jackson's performance is what glues the whole story together. A brilliant turn, and probably her most subtle that I have seen. The silent looks that she gives are priceless. Alas, this is a forgotten gem. I don't think it will ever get a DVD release, unfortunately. But a must see, for sure. Especially if you like for those rare, character and performance driven dramas, all too rare in today's market. 8 1/2 out of 10

20. THE TRIPLE ECHO (war-drama, 1973) England, WW2: Homesteader Alice (Glenda Jackson) has been left a widow by the war so now has to work the farm on her own. Soldier Barton offers to help her out. They eventually become friends then lovers. Not wanting to go back to the front, Barton goes AWOL. Alice helps him by disguising him as her 'sister Katy'. Successfully fleeing detection, their relationship turns sour, as Barton becomes accustomed to his new femininity. Even worse when visiting 'Sergeant' (Oliver Reed) takes an interest at 'Katy'.

Critique: Bizarre, at times unpleasant little film has stuck with me ever since I saw it. Maybe my impressionable age at the time contributed to its lasting impact but after watching it for only the second time, I find it very original, exciting and tragic. It also reminded me of Ed Wood's infamous 'Glen or Glenda' (one of the earliest cross-dressing films), and of Sydney Pollack's Oscar winning 'Tootsie' (starring Dustin Hoffman). In those, and many others since, the emphasis is based on the whole plot's comedy-plus value. The interplay struggle to inhibit their natural desires, disgust at dressing up, and shedding their 'machismo'.

Our film's hero, however, is further enticed into the role and even his personality changes. Jealousy, drama and a sisterly-type relation develops. It is only too late that he discovers what a mess this has gotten him into.

Perplexing study of isolation benefits from a good cast. Oliver Reed's brutish 'Sergeant' is the standout. The surprising ending adds to the film's abstract nature.