Uma Paixão sem Passado

A repressed Episcopalian antique dealer falls head over heels in love with his beautiful but mysterious German secretary, and is apparently so blinded by emotion that he never thinks to ask her a single question about herself. As played by a miscast Meg Tilly she's meant to be an enigmatic blend of beguiling innocence and animal passion, but what begins as a lumpy Continental romance (highlighted by some of the most banal endearments to be heard since John Gilbert was laughed off the screen) goes from love story to ghost story in one awkward Turn of the Screw. What is femme fatale Karin Forster's dark secret: is she a reformed prostitute? A pagan sorceress? A figment of her lover's overwrought imagination? Don't expect any answers from director Gordon Hessler, whose adaptation of the novel by Richard Adams is even more stiff and lifeless than its protagonist. Hessler shows obvious pride in his ability to make a halfway literate film; but it's the other half that makes no sense whatsoever, and the portentous scenario, alongside the lame dialogue, provokes more laughs than shivers.

THE GIRL IN A SWING is an odd little mystery film, directed by horror stalwart Gordon Hessler and based on a book by Richard Adams (of WATERSHIP DOWN fame) of all people. As I understand it, it follows the classic novel adaptation format of removing pretty much of all of the lyrical beauty and atmosphere of the prose, leaving it a very ordinary kind of mystery/romance.

The main problem with this movie is that it's so very slow. I find watching romance films a very boring experience, and 90% of this is romance. A handful of weird events and clues are thrown in to keep the viewer interested, but for the most part this is just about characters lounging around and declaring their love for one another. The film DOES benefit hugely from casting the lovely Meg Tilly (PSYCHO II) as the love interest. Tilly has an ethereal beauty that Hessler captures well on film, and it's a shame that she's not matched by Rupert Frazer who plays against her, although to be fair he doesn't have much to do as the insufferably straight leading character.

Hessler was making B-movie fun with the likes of THE OBLONG BOX and SCREAM AND SCREAM AGAIN some twenty years before this film so he knows his way around the camera, so it's just a pity that the material is quite dull. A series of erotic and sex scenes flesh out the narrative (quite literally in terms of Tilly's nudity) but the plot really only kicks in in the last twenty minutes and by then it's all over. THE GIRL IN A SWING has potential and a commendable atmosphere on occasion, but I'm afraid there's too little here to whet the appetite of all but the most dedicated cinema fans.

Antiques dealer in London, a bachelor who appears to be hesitant of becoming involved with a woman (particularly one with a child), meets a beautiful, enigmatic German girl while on business in Copenhagen. They have a whirlwind courtship and are soon married, but a tragic event in her recent past threatens to tear the lovers apart. Tale of obsessive love and guilt is reticent about revealing its secrets--and, when the climax arrives, it's obscure and troubling, and viewers are left puzzled and rather put off. Dreamily essayed and shot by writer-director Gordon Hessler, via Richard Adams' novel, the film's mercurial nature and heavy-handed psychological overtures may try some viewers' patience long before the climax. Even more frustrating is Meg Tilly's German accent; the actress, glamorous for really the first time, is as dazed and fuzzy-of-thought as ever, and often she's impossible to understand. It's easy to see how a long-time bachelor would become obsessed with her--she's like one of those fragile porcelain figures in his shop--but Hessler dotes on her and dotes on her. Leading man Rupert Frazer is convincingly haunted by the dangerous beauty, though he seems to understand her long before we do. If one responds to the couple's emotional journey, there is hope that the passion and eroticism and heartbreak will all piece together satisfyingly by the end. That doesn't really happen in Hessler's treatment--we're left to ponder the conclusions drawn--yet the high drama at hand is often quite intriguing. **1/2 from ****

Well, I liked this one a lot. To be sure, I was not shocked by the big revelation at the end, but I'm not at all sure I was supposed to be. I knew nothing of the film going in, so had no idea I was in for a bit of a ghost story. Meg Tilly was so beautiful. Easy to see why Alan Dresland (Frazer) would fall for her. I thought she utterly nailed this role. The secretiveness, the blossoming love, the creepy aura of something not quite right coming out, well, she knocked all of these out of the park. A lot has been made of her German accent in this role. It sounded fine to me. Granted, I'm a Texan, and speak no German (or Danish) at all.Yes I missed some of her dialogue, but I always miss a little of what people say in accented English. (OK, in a different accent than mine) She was fantastic, and I'm sorry I haven't seen more of her over the years.

For some mysterious reason which I shall never understand, the inspired and brilliant actress Meg Tilly has never achieved appropriate recognition for her amazing talent. This is one of her finest films, and yet it has never even been released as a DVD. I had to obtain a rare and expensive old VHS video of it, and even that was a 'screening copy for promotional purposes only', so that I wonder if even that was ever properly released. The film also contains what may well have been the finest performance by Rupert Frazer, who subsequently did most of his work for television, and has also been under-appreciated. Meg Tilly's performance in this film is so outstanding that it really is in a category of its own, far exceeding anything one would ever expect to see on screen. The history of the cinema is full of charmers and sirens, and many of the world's most beautiful women are there to be seen by one and by all. But sometimes on very rare occasions, something so special happens, someone so far excels the norm, that it is like a miracle. This is one of those occasions. As Rémy de Gourmont pointed out, the mediaeval poet Goddeschalk made an essential point when he wrote: 'You love in order to make yourself beautiful.' Here this is exquisitely portrayed by Meg Tilly, whose intense and passionate love for Rupert Frazer transforms her and makes her far more beautiful than she would normally be. We can see these physical changes take place in her in front of our very eyes. This is a magical transfiguration, like being witness to an act of sheer witchcraft. The film is excellently and sensitively directed by Gordon Hessler, who is now in his 80s and who retired from directing in 1991. There is excellent support from Nicholas Le Prevost, Lynsey Baxter, Helen Cherry (Trevor Howard's wife, in her last feature film), and others. But this film is essentially a story of love obsession between two people, into which a most devastating tragedy has intruded. The 'girl in a swing' is at the same time both a rare piece of porcelain depicting a girl on a swing, and Meg Tilly herself, whose apotheosis as a kind of incarnation of Aphrodite takes place in the garden when she has been swinging, with nothing on but a hat. There is a supernatural dimension to this film which only becomes clear towards the latter part of the story. Meg Tilly's character has been a girl of mystery from the beginning of the story, and the mystery only deepens and deepens. Rupert Frazer plays a very old-fashioned young Englishman of the sort who does not really exist anymore. He meets her in Copenhagen, she has an obscure or non-existent 'background', but they marry and she moves to England where they live for a while idyllically in his country house. The film is based upon a novel by Richard Adams. Much of it is set in Wiltshire, with several scenes taking place upon the great White Horse which is carved into the hilltop at Westbury, seen several times in magnificent aerial shots, along with lush shots of the sweeping green hills and fields of the West Country. The film has so much atmosphere that it crackles. The film would probably have failed if it were not for the central performance by Meg Tilly, as everything depends upon her being utterly convincing, and not many actresses could have summoned up the magic to become a naiad or dryad right before our bedazzled eyes in the way that she does. This film really is in a category of its own, a classic which has been entirely forgotten, or more probably was never recognised in the first place. How can the bewitching Meg Tilly possibly have been swept to one side as she was in her career, in favour of hordes of inferior actresses? I first saw her when Milos Forman's VALMONT (1989) was released a year after this film, and I thought she was extraordinary then. But this enthralling performance ranks with the greatest portrayals of a mysterious romantic woman in any film, in my opinion. The ultimate mysteries are those of the heart, as this film so magnificently and entrancingly reminds us.