La nuit du désir

During One Night is written and directed by Sidney J. Furie and stars Don Borisenko & Susan Hampshire. Story tells of a soldier (Borisenko) who after seeing his friend suffer castration during an accident, takes leave from his unit to lose his virginity. But upon meeting Jean (Hampshire) his ideals and fears are turned in another direction.

A little unknown piece that occasionally shows up on British TV in the early hours of the morning, During One Night is far better than any plot synopsis suggests. It's a very tender movie, one that is impeccably acted by Borisenko & Hampshire. Very much dialogue driven, it finds two people confronting issues that affect them psychologically. Brought together by chance, they each have to go deep into themselves to hopefully reap the benefits. Will they make it? What does life have in store for them? Thankfully we do care what happens to this couple because it's so well written. For those willing to give their undivided time and attention to a human interest piece then this is certainly recommended. 7/10

I think I like this movie. It is a film with small budget, but it is cute, romantic and full of emotions that can make you feeling both sad and sweet in a way. Perhaps people have completely forgotten this little gem. Lately I had also seen another rather nice old film "The Lost Moment", a film which had gained a lot of good comments. However I find this one "During One Night" being even far much better, and I am rather surprised that so far there is no single viewer has left a comment for it (when I was drafting this review). Well, I guess that is the reality. When that one is a Hollywood production with famous stars in the casting, it gains comments and credits. When this one is a small production with new comers (at that time) in the casting, no one talks about it at all. Perhaps even the British themselves have completely forgotten this little gem. For that I really find a bit pity. It is really a nice heart warmed film which has a simple story line but with several rich issues holding one's heart and soul. The acting of the male (Don Borisenko) and female (Susan Hampshires)leading role are good too, really not bad for a new comer. So, when you have a chance to locate this film,watch it. Its pictures and the scenes will time to time stay in your mind.

David, a shy young Captain in the US Air Force based in England during the Second World War, is stunned when his co-pilot commits suicide after being injured during a mission. He decides that he needs to make the most of his life before it is too late. Can Jean, a young English barmaid, be the answer?

Directed by Sidney J. Furie, this X-certificated film is very unusual for its time with its bold subject matter and even bolder scenes. Maybe the storyline is not always convincing and, at times the acting even less so, but it makes for interesting viewing. Stars Don Borisenko and Susan Hampshire as the couple.

Furie's little seen DURING ONE NIGHT is another of the director's striking early studies in male anxiety. In his THE LEATHER BOYS of 3 years later such anxiety would be explicitly situated around the lure of homosexuality while in THE IPCRESS FILE, still further on in the director's career, concerns would be more centred around male loyalty. In DURING ONE NIGHT air force captain David is part of an airborne male group, first seen with military and sexual camaraderie intact, flying on their 24th mission - leaving only another before their tour of duty gratefully ends. Things change however when one of their number is badly injured during a flight, an injury which emasculates him. After an emotional bedside description of the injury, then later hearing of the later suicide of his flying companion, David goes temporarily AWOL with a view to proving his own manhood before his number comes up.

As written, produced, and directed by Furie DURING ONE NIGHT was at its recent airing briefly dismissed by a UK listings critic as dated, but in fact is a very interesting piece of work, if handicapped by the sentimentality of an ending which suggests that the only fulfilment of sexual desire between a man and a woman can be achieved by romantic love. But perhaps this unconvincingness is the point, as Furie's script repeatedly refers to a lack of male fulfilment through the traditional routes up until this point, while the unspoken alternative lurks in the background. Both David and his dead companion are virgins despite appearances to the contrary, while during the night in question David fails to perform (or "enjoy the product" as it is expressed) with three women in succession: a prostitute, a sexual hustler and finally the innocent Jean (Susan Hampshire, in her first screen role).

Implicit in David's male circle of friends is a vaguely homosexual bonding. None are overtly gay (this was made a few years before homosexuality was legalised in the UK). Yet David is continually worried at not being 'normal', while his suicidal friend during their bedside meeting hints at the dark options left remaining to a man in his physical condition, when regular sexual activity is denied him. While David repeatedly tries to go through with things with various women in his despondent panic he is only able to succeed, and gain full satisfaction, after a peculiar encounter with a military parson, intimate in all but name, in a field late at night. While the parson is rescuing David from his own suicidal propensity by taking him to the edge, upon reflection it's significant that David can only function and reassert himself as a man immediately after the revelations brought after 'being' with another.

As David, Don Borisenko is rather good, which makes one regret that his film career was relatively short (he apparently stopped acting in the 70's). In a difficult role, too often inviting the sniggers of modern audiences, he manages to convey David's sensitivity and sexual apprehensions very well. Less successful is Hampshire's Jean, another virgin met in the film, whose presence, while certainly suggesting the necessary innocence, is a little flat. Her role demands a self-sacrifice only made 'right' by a commitment more than sexual, and whether or not you accept this as believable will dictate how Furie's script works for the viewer, cynical or not.

In one of the film's best scenes, for a long minute David sings a melancholy ode quietly into his pint glass while, hovering in the background just out of focus Jean watches him from behind the bar. At this point David's isolation is both sexual and social, as he has effectively removed himself from society by his increasing despondency and hitherto sexual failure. Jean of course will find him attractive and help him to find himself. But others will also recognise the coded figure of the outsider, alone at that bar, half-heartedly seeking sexual encounters. If in THE LEATHER BOYS Furie's representation of the homosexual underworld is exaggerated and somewhat fearful, in this earlier representation here the pattern is almost entirely subsumed by the heterosexuality of the setting; only David's internal panics and fears a clue to the suspicions on display.

DURING ONE NIGHT's concern with male anxiety and sexual identity is both dated and modern. And while Furie's view of romantic love as the solver of all sexual angst is peculiarly uneasy - perhaps stemming from a desire to appease traditional mores, the matter of adult male sexual crises, both here and in LEATHER BOYS is unusual and treated with some sensitivity. Recommended as a worthwhile corner of British 60's cinema.

It's World War II. The American pilots are gathered inthe hospital to see if Graydon Gould will survive. He will, but he won't have any children. He asks Captain Don Borisenko to get him something sharp. Borisenko refuses, but he's got only one mission left before he's rotated back to the States, and it puts the heebie-jeebies into him. He takes a 4-hour pass and tries to get rid of his virginity with a professional, but it's too stressful him to perform. He goes to a bar, and overstays his pass. He hits it off with bar girl Susan Hampshire, and she's willing, but again, he can't. Now he's in danger of being declared a deserter. Plus her mother is convinced they've done the deed and has him slung in jail.

It's one of those movies that in the late 1950s and early 1960s was called "sensitive". It certainly tries to be, with the two young actors offering hesitant and sweet performances as two unsophisticated people thrown into the we-may-never-meet-again maelstrom of war. It's not to my taste, but for an industry that was trying to grow up as the Hays Office crumbled in America, and the authorities in Britain lost their power to compel, it seems like a good effort.