Le jardinier espagnol

DIRK BOGARDE gives one of his more restrained performances in the title role, a man whose friendship with a young boy (JON WHITELEY) drives a wedge between the boy and his over-protective father (MICHAEL HORDERN). It's the interplay between these three characters that drives the story and there are some melodramatic events before the happy ending.

But it takes its time in developing the characterizations, sags in the middle and then picks up again during the last half-hour when all the melodramatic conflicts have to be resolved.

Unfortunately, the TCM print shows murky color photography (especially after showing a dazzling print of BLACK NARCISSUS). Whether the film was shot in a process other than the usual British color I don't know, but the color photography was sometimes less than satisfying.

The story is one of friendship that the boy so badly needs when his father has too little time to share many activities with him. The bond between him and the Spanish gardener is based on mutual trust and the boy comes to hate his father when he realizes that he's been the cause of the man being jailed for a crime he didn't commit.

JON WHITELEY gives a remarkably natural performance for a child actor and his scenes with DIRK BOGARDE and MICHAEL HORDERN are excellently played.

There are problems of pacing that plague some parts of the film, but the last half is particularly absorbing and leads to a satisfying conclusion. Well worth watching.

AJ Cronin 's book is a cruel one, and its denouement is not a happy one .It is actually one of the most depressing ending I know .

Although played by first-rate actor Dirk Bogarde and wiz kid John Whiteley he meets again after the poignant "hunted" ,the readers will be fatally disappointed ; the story was strongly watered down ,not only the ending ,but also the scenes with the charlatan /shrink Harrington Brande who must have got a Mickey Mouse degree .Which would not matter if it did not cause such a harrowing tragedy .The scenes in José's house are a pale reflection of the writer's depiction .

Fortunately ,the rapport José has with his friend,thanks to the sensitiveness of both principals ,is intact .One can enjoy their little trip in the country ,where they fish trouts and share their picnic; the scene in which José suffers humiliation when he brings his gift to the vain father was kept and climaxes the movie ; the way both friends communicate when the proud father forbides them to speak to each other warms the viewer.The polota game is also a great moment.

It was impossible to transfer the book to the screen while making a movie aimed at the family market .In the end ,Garcia will take all the blame deservedly and the father becomes a father again ,which has nothing to do with Cronin's bitter epilogue in Stockholm .

Watch it ,anyway;both Bogarde and his young co-star deserve your undivided attention and all your admiration.But,please,read the book afterward.

The "Spanish Gardener" is a warm-hearted film that entertains, teaches and gratifies all at the same time. Dirk Bogarde is a wonderful actor who never got his due as a great interpreter of character on screen. This is a simple film, but what a film it is! Sometimes simplicity is a more powerful conveyor of truth than complex renditions that lose the audience before they can redeem themselves. So much garbage is being produced currently on film today that I wonder why filmmakers don't just sit back and learn from their predecessors, often English directors, who can teach so much just by simply observing how they craft their films?

Jose helps form a bond of friendship with a young boy that cannot be broken even by the boy's jealous older father who selfishly guards his young son as a prized possession who must not have contact with anyone. This film reminds me of "A Man Without a Face" (1993) with Mel Gibson, another wonderful film.

I cannot recommend this film too highly. It will warm your heart and break it too. But isn't that what films are supposed to do? Touch your heart and get at the universal emotions of people, much like a Beethoven Symphony would, to stir, conquer and triumph! This 1957 film is a victory because of fine directing, acting, story and execution of plot which allows the audience time to absorb and feel the emotions that develop within and between the characters, resolving itself towards a beautifully crafted ending.

The very first frame brilliantly sets the mood and theme. As the movie opens, young Nicholas is isolated on the frame's left side leaving the remainder to a void, specifically, the gloomy interior of a British Embassy. He is peering out a window at a busy street below. Soon we hear raised voices from the next room. Then, two men enter, and the story swings into action. But this first glimpse shows us what we need to know—a lonely, curious boy separated from the world by elegantly impersonal surroundings and apart from adults in his life. In effect, the movie's 90-minute remainder shows us the boy's difficult journey from that detached space above to the worldly space below.

Naturally, a human interest story like this depends heavily on the quality of the performances. Fortunately, they're almost uniformly outstanding, particularly Hordern's. As the emotionally bottled-up father he's simply superb. He's very good at concealing unwanted emotions before they betray inner conflict and possible weakness. And being a diplomat in British employ, the self-discipline goes logically with the job. The trouble for Brande (Hordern) is that he has allowed that professional demeanor to take over his private life, as well, resulting in an emotional prig who's already lost his wife and is in the process of losing his son. The latter are quietly wrenching scenes, especially when the Spanish gardener Jose (Bogarde) arrives and the boy's conflicts become painfully evident.

It's significant that the boy's mentoring companion is made a gardener—that is, a man who knows how to make young things grow. (Note too how quickly the screenplay connects the handsome Jose with a girlfriend, thereby forestalling possible innuendo.) Ironically, then, it's the understanding menial and not the father, who provides Nicholas with the needed opportunity to grow. Thus, when Nicholas doffs his white shirt to join in the gardening and the sun, it's a highly symbolic act, and I was reminded of those imperial times when the conquering British were disparagingly said "to go native" by adopting customs from the locals. As a result, the rivalry between the cultured diplomat and the athletic gardener can be taken in that broader sense as involving more than matters of personal jealousy. Thus Dad's first admonition to Nicholas is to put the shirt back on, and all that signifies.

To me, the movie's first two-thirds come across as a triumph in the art of stylistic naturalism—the riveting seaside vistas, the subdued performances (excepting Cusack's overdone Garcia), along with the sensitive dialogue— for example, note the subtle lengths Robert Buford and others go to so as not to offend the insecure Brande. However—in passing —I do think the accusatory line about failing as a man is unnecessary and contrary to the film's strength, a strength that lies in "showing" rather than in "telling". In short, we've already been shown Brande's key character failing, no need to tell us.

Unfortunately, the movie's final third turns baldly melodramatic and contrived. The stagey storm and chance meetings at the mill may provide some dramatic action, but they also undercut the modulated naturalism that's so effectively defined the movie. I don't know how much of the melodrama was in the Cronin novel, but the sudden departure prevents the movie from being the classic it should have been, at least in my little book.

Nonetheless, it's an unforgettable film in so many ways. Of course, the slow pace is not everyone's cup of tea-- which may be why the last part was turned into melodrama. Still and all, there's so much that's impressive, from Whiteley's affecting performance to Bogarde's smiling approach from the bosom of the seaside. I guess the story could be taken as an allegorical comment on what happens to even the coldest-climate British when introduced to the soothing rays of the Spanish Riviera. However that may be, it remains a moving film of memorable moments and one of my favorites.

The Spanish Gardener is an adaptation from A. J. Cronin's novel of the same name. It tells the story of a British diplomat called Harrington Brande {Michael Hordern excellently grumpy} who is relocated to Cataluña, Spain, after his marriage falls by the way side. Taking his young son Nicholas {Jon Whiteley tender} with him, Harrington is perturbed when Nicholas forms a loving and trusting friendship with the estate gardener Jose {Dirk Bogarde charming}. Bitten by jealousy and tortured by his own inadequacies as a father, Brande becomes nasty and spiteful, and it gets to the point where he will stop at nothing to break up the friendship. All of which is keenly observed by the shifty, and often drunk butler, whom it seems has a very vested interest in the family proceedings.

The Spanish Gardener is a lovely sweet movie that really hits the spot if one is looking for a warming humanistic fable. It has no pretensions to be ground breaking or feel the need to garner critical appraisal. It's message is simple and it relies {and succeeds in my case} on the viewers basic willingness to be engaged by its integrity and story telling worth. Yes it's far from flawless. You will need to accept Dirk Bogarde as being Spanish, what with his fluctuating tan shades throughout the picture being obvious, not really helping that train of thought. Then you will have to get over a disappointment that the budget didn't let the production utilise more of the sumptuous Cataluña {oh my that Sea} location {interiors done at Pinewood Studios}. But couple the warmth and sincerity of the story with John Veale's lovely score, and it's not with the niggles that you come away with.

It's not one I would suggest you rush out to see, but if you get the chance to watch this film, you should do so, for I'm sure you will feel all the better for it come the end. 7/10