Si Paris l'avait su

Having seen this movie again after many years, I was surprised how well it holds up.

Jean Simmons gave a convincing performance as the young girl, terrified and confused by the disappearance overnight of her brother and the refusal of the hotel staff to acknowledge that he even existed. Dirk Bogarde gives his usual excellent performance as the English artist who comes to her rescue.

Although the plot is fairly predictable, the suspense is maintained right to the end, the setting of Paris during the Great Exhibition is picturesque and both Miss Simmons and Mr Bogarde look delightful What more can you ask for?

So Long at the Fair is directed by Terence Fisher and Antony Darnborough and written by Hugh Mills and Anthony Thorne. It stars Dirk Bogarde, Jean Simmons, David Tomlinson, Marcel Poncin, Felix Aylmer and Cathleen Nesbitt. Music is by Benjamin Frankel and cinematography by Reginald Wyer.

Adapted from Thorne's novel of the same name, story is set in Paris 1889 (not 1896 as some other sources strangely suggest it is) and sees Simmons as Vicky Barton, who awakes in her hotel to find that her brother, and his hotel room, are missing. With the hotel staff adamant that she checked in alone and that her brother never accompanied her, Vicky is confused and very alone. However, hope comes in the form of handsome artist George Hathaway (Bogarde), who had an exchange with Vicky's brother and therefore can vouch for his existence. But with the odds stacked against them and proof hard to find, can the pair of them uncover the truth and solve the mystery?

It seems now to be a familiar plot, but it wasn't back then and the story's origin is derived from an urban legend. What unfolds over the film's running time is a sharply told mystery that is infused with good quality drama. Simmons and Bogarde make for a very engaging couple and it's very easy to root for them as they set about their sleuthing. However, the film is split into two as regards tonal worth.

The first half is the most atmospheric as Simmons' Vicky is a stranger in a strange land, her fraught helplessness over her missing brother is enhanced by the language problems. This aspect impacts on us the viewers by there not being any sub-titles for the French speaking parts of the script. A good move is that.

Once Vicky teams up with George the thriller suspense gives way to detective mystery, which is fine, and for sure the "reveal" that comes in the finale is credible, but it's hard not to lament a touch that the pic hasn't stayed in "darker" mode, even if the score is consistently too jaunty for such a story. While the black and white photography is, however, tonally pleasing, and the Victorian costuming is authentic looking.

There's a couple of off kilter shots but noir like visuals are in short supply, and characterisations and basis of plotting do not scream out as being noir influenced, so you have to wonder why the film has found its way into a DVD collection of British Noir? It's a classy little mystery, boosted by some prime British acting talent, but first time viewers expecting a Brit film noir should heed my warning, it's not! 7/10

"So Long at the Fair" manages to fuse the macabre with the swank in a singularly enjoyable nerve wracker set in 1889 Paris.

Director Terence Fisher leads his audience with aplomb from the gaiety of the Moulon Rouge to the lugubrious shadows of a convent hospital with an assurance missing from most modern thrillers.

Production values are first rate from the elegant hotel to the elaborately wrought fair sequences.

One could scarcely ask for a more debonair and attractive couple than Mr. Bogarde, (with his famous pompadour intact), and the exquisite Miss Simmons, who, in her turn provides a welcome reminder of 19th century feminine deportment. And Villainess Cathleen Nesbitt, with her cut glass diction, and rustling black bombazine, defines sinister suavity in a way you won't soon forget.

Kudos also to Honor Blackman who wears a bustle with distinction.

Nicely-acted film, particularly by a young Jean Simmons demonstrating the capabilities that made her such a well-known figure later in her acting career. What's probably not so well known about this picture is that it appears to be based on a real incident that supposedly occurred at the Paris Exposition in May of 1889. In the "real" incident (it's tough to find documentation of it), it is the girl's mother, not her brother, who goes missing, but the details are much the same as presented in the film. It's been awhile since I last saw this movie, but as I recall the film ending was quite different from the actual conclusion; in the latter situation, the young lady never found her mother and was eventually committed to an insane asylum in England. Or so the story goes. True story, or old, old urban legend? Either way, it lends a little bit of added dimension to this intriguing, fairly obscure movie.

Don't watch this period piece if you're feeling at all frustrated. Because it's about 90-minutes of on-screen frustration as poor Vicki (Simmons) tries to convince everyone that her version of reality is truer than everyone else's. The trouble is she had a brother in the hotel the night before, but in the morning everyone else says she didn't. So, where is her brother and why are the hotel people lying and will the French authorities ever take the word of one small English woman who can't speak their language. It's just one maddening frustration after another. Meanwhile, we're wondering what the heck is going on.

It's a really good suspenser as we accompany Vicki while she tries, with George's (Bogarde) help, to unravel the baffling mystery. The studio does a great job re- creating the appearance of 19th century Paris and its elaborate Exhibition, especially the ballooning episode. Also, I really like the boisterous nightclub scene that overflows with energetic gaiety. David Tomlinson too is perfect as the rather uptight English brother who can't seem to get into the swing of things Parisian. And where did they get that hotel majordomo (Catherine Nesbitt) who's officious enough to intimidate King Kong.

Anyway, the movie's enough to make you appreciate everyday things like a common reality we can all agree on. The riveting premise may have been done more than once, but never better than here.