L'ombre d'un homme

After watching the Terence Rattigan DVD collection (with most of the adaptations being from the 70s and 80s) when staying with family friends last year, Rattigan very quickly became one of my favourite playwrights and he still is. his dialogue is so intelligent, witty and meaty, his characterisation so dynamic, complex and real and the storytelling so beautifully constructed.

'The Browning Version' is a defining example of Rattigan at his finest. As said in previous reviews for the adaptations part of the Terence Rattigan DVD collection, is also at his best when laying bare deep emotional and psychological strains in his principal characters within a skillful dramatic framework. 'The Browning Version' epitomises that as well as everything that makes me love Rattigan's work so much. Was bowled over by this near-perfect 1951 film.

Not only is it the definitive version of the play but to me it is also one of the best adaptations of any of Rattigan's work, film or television. The only thing that rang false was despite Crocker Harris' very powerful, lump in the throat and tear welling departure speech how it concludes so optimistically after everything that happened in the rest of the film, it just seemed so contrived.

Can't say anything wrong with anything else though. The best things about it are the script and the performance of Michael Redgrave, the aspects that one remembers long after the film is over. The script benefits hugely from the involvement of Rattigan himself and from him extension, his superb writing, dynamic between the characters and consummate attention to very complex characterisation shine through wonderfully here and really keeps things afloat.

Redgrave is simply mesmerising, he has never been better and his performance is nuanced, at times stern and cold but extremely moving, there is self-pity here but done with incredible dignity. He's not the only good actor. Jean Kent's heartlessness as Millie is very chilling, if she comes across as a character with no redeeming qualities or weaknesses that is the film taking the right approach with a character that is meant to be like that. Nigel Patrick is suitably cocky, while Wilfred Hyde White steals scenes and Brian Smith is a winning Taplow.

Anthony Asquith's direction never allows the action to become stage bound. The gentile shabbiness of the school is captured neatly but never pat as is how all the different woes come over so mercilessly, which is what makes the drama so poignant and haunting. The story is basically an introspective character study and in terms of detail and emotional impact it's remarkably rich and subtle. There are standout moments such as the emotional turning point for Crocker Harris and the departure speech.

Cinematography is beautifully done and the set and costumes are handsomely produced. Good music from Arnold Bax as well.

In summation, a wonderful film and an example for any future Rattigan adaptation, especially for a play as good as 'The Browning Version'. 9/10 Bethany Cox

I do not think the 1994 remake is so appalling.But it cannot hold a candle to this one,for sure,though.Part of the reason can be found,IMHO,in how the two directors deal with the main character.THe color version gambles on Albert Finney's performance and overlooks the rest of the cast which is not that much exciting in the first place (M.Modine is rather bland).Here ,the whole cast is outstanding ,from the young guy who plays the student to Jean Kent,a bitchy wife ,from Nigel Patrick's bewildered science teacher who becomes a human being during the movie to Wilfrid Hyde-White's (whatever a precedent user's view on the matter)mischievous,suave and finally cruel headmaster.

Of course Michael Redgrave steals the show ,but he gets good support all along the way.His performance is subdued,but emotionally intense ,and if you do not shed a tear during his final speech,you must have a heart of stone.The black and white cinematography and the stifling atmosphere give the tragedy the three unities (place,time and action) and an inventive directing makes us forget it's a play,like in the best Mankiewicz works.

As the dry-as-dust, cuckolded public schoolmaster, dying of heart disease, yet heartless in the eyes of his pupils, Michael Redgrave gives one of the screen's finest and most moving performances in Anthony Asquith's superb screen version of Terence Rattigan's play. (Rattigan himself wrote the economical, precise and first-rate screenplay). The rest of the cast act in that arch, fastidious fashion prevalent in British films of the time, though that fine and under-valued actor Nigel Patrick breathes considerable life into the role of the adulterous but penitent science teacher while Jean Kent is superbly treacherous as the unfaithful wife.

As a director, Asquith never really displayed much in the way of a visual sensibility, relying instead on the quality of his scripts but he still managed to make some of the best British films of the period, this being one of them. Although well-played the Albert Finney remake doesn't come close.

Michael Redgrave is wonderful in this film. To watch him in The Lady Vanishes, then to see him in this, it really is a testament to his acting versatility.

The story itself is utterly depressing, and shows little remorse. Though this is why the film is so brilliant. The atmosphere mixes that of the school and that of the Greek tragedy - namely Aeschylus' the Agamemnon. Coker-Harris is slowly broken down by his wife, which is similar to that of Clytemnestra and Agamemnon. However, Coker-Harris has not done much wrong to warrant this hate and spite, which makes him a sympathetic and tragic character.

The film moves at a brisk pace and is not once boring. The acting is superb, the look efficient and makes for a superb film.

Michael Redgrave was obviously born for the role of Andrew Crocker-Harris in this Asquith-directed version of Terence Rattigan's clever and absorbing play.

On the face of it, the subject matter and material are rather thin. Crocker-Harris, a stuffed shirt of a schoolmaster, is about to be retired due to ill-health, and replaced by a modern new blood who sees teaching as an extension of psychology. Mrs Crocker-Harris is a frightful snob and an unhappy wife who is playing away from home, and the schoolboys only have eyes and minds for a cricket-playing hero about to leave to join England's team.

You may feel all this would be predictable and more than a little dull, and perhaps without a strong actor such as Redgrave in the central role, it may well be. I have seen the stage play, with Edward Fox as Crocker-Harris, and found it a great performance and a wonderful period piece.

Here, Redgrave is a real tour-de-force, and his supporting cast, including Wilfred Hyde White as the headmaster, and Jean Kent as the battling Mrs Crocker-Harris, are well cast. There are several charming scenes between Crocker-Harris and his replacement (Ronald Howard), and between the older schoolmaster and pupil Taplow (Brian White).

And the Browning Version? A translation of Agamemnon which reminds Crocker-Harris of a time he was a young and enthusiastic teacher, ready to mould the young.

This film is a worthy companion to the earlier classic 'Goodbye, Mr Chips', and, I think, is just as good.