La victime

Henri-George Clouzot's "le corbeau" (the raven,1943) always comes to mind when it comes to slanderous mail.The principal differences between the French movie and Dearden's one is that in the former,the raven was not a blackmailer,he was not in it for the money ,but out of pure wickedness,and he would "punish" not the gay-it was too soon- but the adulterer,the abortion and other little sins.

Dearden's work is a bold move for the time.The movies dealing with homosexuality were very rare then.It was one of the first to fight against intolerance. Of course this topic was in Tennessee Williams' plays ,but it was not really militant .We can mention in the sixties the almost contemporary "children's hour" (Wyler,1963) "the fox "(Mark Rydell,1967) and "the staircase" (Donen,1969).

Dearden's work suffers from a certain inflation of secondary characters which weakens the drama.(Dennis Price's part does not seem much relevant.)Consequently,the best moments are to be found in the first twenty minutes:Peter MC Ennery (who would be Rasputin's assassin in "j'ai tué Raspoutine"(1967) ,and coincidence,this Yusupov was also a gay)'s escape ,recalling sometimes James Mason's in "odd man out" ,is breathtaking:alone in a world gone hostile and threatening,his phone calls remain unanswered,and everybody turns his back on him:his buddy's girlfriend's attitude is telling ,full of contempt and repulsion.The scenes between Dirk Bogarde -I do not need to add to the praise he has already received- and his wife are also great moments of true emotion.Had Dearden focused on the husband/wife/young man,his film would have gained in strength.Nevertheless,this courageous plea is still worth watching.

During his lifetime Dirk Bogarde never admitted to being gay and before his death he destroyed many of his private papers. Nevertheless, his sexuality has long been an open secret and Bogarde's desire to keep his private life private had to be respected. It was, therefore, an astonishingly brave decision to take on the role of Melville Farr, the closeted gay barrister who is willing to 'come out' in order to break a blackmailing ring in Basil Dearden's pioneering thriller "Victim".

Bogarde says he chose the part because he wanted to break free of the matinée idol roles he had played up to that time but by doing so he risked alienating his fan-base. Of course, by playing Farr and subsequent roles in films like "The Servant" and "Death in Venice" it could be argued that he was vicariously acting out on screen what he was feeling in real life.

That "Victim" was made at all is as astonishing as Bogarde's decision to take the lead. This was 1961 and homosexuality was still illegal in Britain. "Victim" broke new ground by making it the central theme and by making the gay characters sympathetic, the victims of the title, and by making the law, (at least in the form of John Barrie's investigating copper), sympathetic to their plight. This was a crusading work and is today largely credited with bring about the change in the law that decriminalized homosexual acts between consenting adults in Great Britain.

Viewed today it is, of course, both melodramatic and didactic. At times it seems the characters aren't saying lines but making speeches. As a thriller it's reasonably exciting, (it's got sufficient red-herrings to keep us guessing), and Dearden admitted that without the thriller element the film might never have been made. (He did something similar with racism in the film "Sapphire").

"Victim" also featured a number of other gay actors in the cast, notably Dennis Price, superb as an ageing actor, and the actor/director Hilton Edwards. Whatever his motives for taking on the role, Bogarde is superb and he has at least one great scene when he finally admits his true nature to his wife, beautifully played by Sylvia Syms. There is certainly no doubt the film has dated and yet it remains one of the greatest of all gay movies.

It would be easy to view this movie as nothing more than a somewhat dated film. However, for it's time, this movie was ground-breaking, for any number of reasons, including its superb acting. Dirk Bogarde and Sylvia Syms, in particular, were perfect in their parts.

What many don't realize is that this movie is credited with helping to decriminalize homosexuality in Britain. When "Victim" was released, it started a nationwide discussion about homosexuality and associated blackmail. At the time, approximately 90% of all blackmail cases involved homosexuals, and Bogarde's character was a classic example of a blackmail "victim". The point of the movie wasn't that all homosexuals were victims, but they could only be victims so long as the law permitted it. The blackmail wasn't merely because they were homosexual, but due to the harsh prison sentences a homosexual could (and often did) receive. How often does a movie get the opportunity to help create such a profound change in society?

Set in 1950's Britain at a time when homosexuality is against the law, a top Barrister ( Dirk Bogarde) puts his career on the line to tackle the outrageous blackmail of London's homosexuals.

Impressive cast and outstanding performance by Dirk Bogarde as the troubled barrister whose anguish and pain one can see in his face throughout the film. Watching this now in the 21st century, it seems unbelievable to think that homosexuality was illegal here forty years ago. This is not to say that homophobia is not a concern now, because it still is, however there have been large strides forward for the acceptance and tolerance of homosexuals in mainstream society.

This film is an excellent historical snippet at a time of contentious laws as well as being a fine piece of art. Basil Dearden directs brilliantly and the script maintains a gripping interest throughout. In addition it was nice to see many parts of London as they were in the fifties before factories were knocked down and the hordes of yuppie apartments where built along the Thames.

From what I have read, this was the first British film ever to use the word "homosexual" in the dialogue. That may, or may not, be technically true. Regardless, in 1961, overt gay references were risky to filmmakers, at least in Britain and the United States. Thus, the most amazing thing about "Victim" is the simple fact that it was made.

The film's theme is anything but subtle. Viewers in 1961 learn that government laws punish gays and encourage blackmailers, who function as predators to extort money from those whose instincts are out of sync with societal "norms". The film thus portrays gay men as prey, and tending to be secretive, scared, nervous, and sad. Dirk Bogarde gives an excellent performance as a powerful married barrister, secretly gay, who thinks he himself is on the verge of being blackmailed.

But while the film thus has obvious educational benefits, it is also quite entertaining, thanks to the plot rationale, which revolves around trying to guess who the blackmailer is. It's a whodunit mystery. Well into the film, a rather strange looking young man appears on a motorcycle and proceeds to chastise a barber for trying to escape from impending blackmail payments. But is this young man the real blackmailer, or just an envoy?

Adding to the entertaining plot line is the wonderfully off-kilter, noirish lighting from DP Otto Heller. The B&W cinematography conveys an appropriately moody, sometimes sinister, tone, consistent with the film's theme.

Some films try to be educational but end up preachy. Other films succeed at being educational, but lack entertainment value. "Victim" succeeds both as education and as entertainment, owing to its daring and absorbing screen story, its excellent direction, its good performances, and its effective cinematography.