Le fond du problème

While this might not offer much appeal to movie buffs hooked on action flicks - any that value truly classic writing (Graham Green) will be more than compensated by this in-depth character study of the eternal triangle - as examined through the eyes of Catholic guilt and dedication to specific vows and doctrine. Trevor Howard is absolutely superb as Scobie, the trapped in a loveless marriage, deputy commissioner of the Sierra Leone police in the early 40s. With the arrival of survivors from a torpedoed ship, Scobie finds himself drawn to a vulnerable young woman. Lovely Award-winning Austrian-Swiss born, Maria Schell is his equal in her performance of the young survivor.

Beautifully photographed on location, in B/W by Award-winner Jack Hildyard (Bridge on the River Kwai) and reasonably directed by highly regarded TV man, George More O'Ferrall - this richly detailed soul-searching drama is filled with wonderfully defined characters, well played by a sterling international cast.

Not to be missed by all who value classic storytelling and solid British movie-making. The newly restored DVD transfers make it a valuable re-discovery.

After watching The Heart Of The Matter for all the exotic atmosphere of a film set in Sierra Leone during World War II what the film boils down to essentially is a Catholic soap opera. Which would follow since it is based on a Graham Greene novel. Had lead character Trevor Howard not been Catholic, would this story had even occurred.

Howard gives a capable performance of a British colonial policeman who is stationed in Sierra Leone caught up in a mid life crisis. He's fallen out of love with wife Elizabeth Allan whom he sends away on money borrowed from a man who the authorities suspect of smuggling, an offensive looked at even more during wartime.

He also embarks on an affair with Maria Schell, an Austrian refugee who were others had been on a life raft for 40 days at sea after Allan has been sent away. That and the fact that he now has the appearance of impropriety has his superiors questioning him after accusations were brought by another civilian Denholm Elliott.

Nothing like Catholic guilt. His theological musings with Father Peter Finch bring him no solace. Howard's troubles are big, but he's his own harshest judge as per his religion.

Although The Heart Of The Matter was well received and it is a well acted story, it hasn't aged well in the past 60 years since it first came out. If anything it's one serious argument against Catholicism should one be considering converting.

A fairly good remake of the Graham Greene novel. Though the ending is different from the novel, the tragic theme is prevalent throughout the film. Trevor Howard brings out Scobie's inner torment credibly - as the principled police officer scared of the misery around him. The colonial aspects of the time period are handled well, you can almost feel the heat and humidity and the occasional fevers that rack the body. This combined with good acting, flesh out the Greene novel faithfully. A terrific movie about the machinations of the human conscience, and what it can lead to.

Adapted from one of Graham Greene's "Big 4" "Catholic novels", The Heart of the Matter is notable for its excellent production standards. In an example of literacy audiences differing from those of the cinema, the film is generally accepted as being a commercial failure, I would suggest due to its rather bleak and depressing storyline.

The acting is first class with Trevor Howard excelling as Scobie, the principled expatriate Catholic police officer serving in Sierra Leone. Enmeshed in a loveless marriage with an adulterous wife, he still attempts to do the right thing by all parties, including his wife's smarmy lover Wilson (a fine young Denholm Elliot), as well as do his job professionally, though aware he is to be passed over for promotion for a younger officer. Both his faith and desires however are tested mightily after meeting the young refugee Helen.

The black and white cinematography shot by the great Jack Hildyard on location in Sierra Leone is superb, as is the indigenous, largely percussive soundtrack.

The storyline does parallel much of Greene's life, as he served in Sierra Leone during World War 2, not for the police, but the nascent MI6. The self-confessed "Catholic agnostic", in creating the character of Harry Scobie, forms a template mirroring his own inner torments and depressions, whilst trying to adjust his life to established institutions such as lasting marriage to one person and living one's life according to Catholic doctrines.

Though quite a literal and respectable adaption from Greene's book, this is also arguably the root reason for the film's failure to win much of an audience, apart from those with a fair awareness and interest in Catholicism. Unlike some of Greene's other work embracing aspects of espionage mystery and suspense, this film pretty much eschews any thought of embellishing the story with a police procedural. It serves almost solely as a psychological examination of Scobie's inner demons and challenges. Both the narrative and its conclusion can best be described as unrelentingly harsh and cheerless.

Unsurprisingly, as such, it was never a film likely to gather a large audience, despite its its many production virtues.

Grahame Greene preferred to be called a 'novelist who happened to be a Catholic' rather than a 'Catholic novelist'.

That he was a master storyteller with a gift for characterisation is indisputable and 'The Heart of the Matter' of 1948 not only proved to be a best seller but has long since been regarded by the literati as one of his finest.

Brought to the screen five years later by a 'capable' director with a first rate cast, its themes of angst-ridden guilt, crisis of Faith, mortal sin, human frailty and failure would hardly be likely to appeal to the average cinema goer and so it proved. The paying public stayed away in droves.

The character of Harry Scobie, a deputy assistant commissioner in Sierra Leone is one of Greene's most complex characters. Described by his neurotic wife as a typical 'second man', as a 'coward' by his equally neurotic younger lover and by his superior as 'Scobie the Just', he goes to great lengths to achieve the well-nigh impossible task of not causing pain or suffering to anyone, even to God! Faced with this moral dilemma he decides to take the only way out.......

The makers of this have resisted the temptation to hire a Hollywood 'name' as Scobie and have cast Trevor Howard. He is absolutely mesmerising in the role and turns in what is arguably his greatest performance. His character's fall from grace is agonising to behold.

All of the performances are uniformly excellent and Maria Schell is at her most touching. The 'chemistry' between her and Howard is palpable.

The direction by George More O'Ferrall is solid but alas rather flat and uninspired.

The script is literate if not literal and the original ending has been changed in an attempt to make it more filmic.

William Golding described Greene as 'the ultimate chronicler of Twentieth Century Man's consciousness and anxiety.' There is a bit too much of both in the novel and any film version would struggle to be commercially viable.

It can still be enjoyed however by those few who recognise and appreciate fine acting.