Tables séparées

I don't know why, sometimes I think it may have to do with previous lives, otherwise why do I feel so comfortable within the discomforts of this English seaside hotel. But the fact is that, often, I want to put it on and sit at one of the tables myself. I believe that Terence Rattigan is the main reason. What a wonderful writer. Then, Gladys Cooper of course, how can such a perfidious mother be such a pleasure to watch? Maybe is that explosive combination of Rattigan/Cooper. Wendy Hiller in one of her few meaty roles in movies, she won an Oscar for it and every nuance, every look is worth pages and pages of exposition. Exquisite. Cathleen Nesbitt is a joy to behold. Deborah Kerr, David Niven who also won the Oscar for his sad impostor, Burt Lancaster and Rita Hayworth bring a dash of Hollywood to the grayness of Bournemouth. Okay, now, dinner is served. Don't let it get cold.

Having recently watched "You Were Never Lovelier" with Fred Astaire and Rita Hayworth, it's interesting to notice how she was largely shot and directed throughout her career.

Her dancing in "Lovelier" was fun and fine in "The Shorty George," where she's relaxed and clearly having a ball -- and appears to be keeping up with Astaire. "Appears" is the operative word. Astaire (who choreographed) carefully kept their routines within Hayworth's range, never challenging her beyond her capacities. But Hayworth completely lacked Ginger Rogers' lithe body fluidity and on screen electricity.

Hayworth was stunningly beautiful, of course. But even in "Lovelier" there are moments when, not carefully lit, the forehead lines that were so apparent in later years (unless also carefully lit) were already apparent and fleetingly distracting.

More to the point was how she was directed and photographed in "Lovelier." She actually has very few lines. What she does have are usually brief and delivered in a relatively quick take before cutting away.

She never makes emotional transitions in a scene. Rather, the camera cuts to a new angle when she's called on to register a different emotion. The primary goal at all times is to maintain her seemingly flawless facial beauty. Fine in a fluff piece like "Lovelier."

Cut to "Separate Tables" 16 years later.

Hayworth is still beautiful if more "mature." AGAIN she is never shown making an emotional transition in one shot: cutaways are instead employed. The technique (to disguise her limited acting abilities) is particularly jarring in her dramatic scene in her bedroom with Burt Lancaster. On closer inspection, she "poses" from cut to cut rather than displaying her character's emotional arcs.

Sure, she was supposed to be an aging model, all self-possessed poise. But not in that dramatic scene.

Still, it's a fascinating lesson in how skilled film making disguises limited range. (For a heartbreaking account of the making of her last film, read Frank Langella's "Dropped Names.")

Terence Rattigan's play was forced to disguise the homosexual "scandal" of the Major's (David Niven) being arrested for soliciting men in dark movie houses, though the implication is fairly clear.

Knowing the repression of homosexuality at that time makes Niven's performance even more involving; especially once the scandal is revealed to the boarders at the Beauregard.

Niven's amazing performance (in only 16 minutes of screen time) is disarmingly deep. He goes from an almost comical figure to an exposed fraud with a dark secret since childhood, to a lost late-middle-aged man with no future, to the final hope of redemption.

Niven shows all his character's subtle emotional transitions in sustained takes (unlike Hayworth).

Deborah Kerr is fine and completely convincing, as always.

Burt Lancaster gives another version of Burt Lancaster in not his finest hour. "Sweet Smell of Success," "The Rose Tattoo," "Come Back, Little Sheba," "Birdman of Alcatraz" and "Judgment at Nuremberg" -- even "Trapeze" -- are better records of his talents. But he's always believable.

The remaining cast, especially the nuanced Wendy Hiller, are terrific.

Still, it's Hayworth's impression -- not her character's -- who lingers as something not quite real, not untalented, but unrealized and somewhat vacant. It's not her mental deterioration. It was there on screen from the beginning. She tried gamely throughout her career, and looked magnificent thanks to careful costuming, lighting and cinematography. But even with careful cutaway direction she seems little more than a paper doll -- and finally, tragically, just as fragile.

I enjoyed this movie immensely. I went back and watched parts of it over because it was done so well.

The actors show the greatness and degradation of human nature under the duress of great personal obstacles and non-ideal circumstances.

Burt Lancaster is both bold and vulnerable, directly honest and compassionately understanding.

One person exhibits unsurpassed understanding with unselfish love. To me, this is a love story on many levels; manipulative love, selfish, lonely love, the love of people's opinion, love battling fear and finally... well, you need to watch it and see.

This film came highly recommended to me by my parents, so I was anxious to watch it. Again, I realized that my impression of Burt Lancaster is completely different from what he actually is as an actor. His portrayal of an alcoholic man who gets a visit from his ex-wife (Hayworth) at the hotel he resides is again different from the boisterous, oafish guy that I always believed him to be when I was younger. Also at the hotel are a varied group of characters – including an oppressive woman who lords over her timid spinster daughter (Kerr) and a retired Army officer with some secrets, (Niven) who are all taken care of by the distant, yet sincere proprietress, Pat Cooper (the amazing Wendy Hiller). The film encompasses all of their separate plot lines, and interweaves them gradually until the climatic ending. There was no action in this film, just wonderful, straight melodrama and some great writing and acting. A year later, Lancaster and Hecht, the producers behind this film, went on to produce `Sweet Smell of Success', which is infinitely more searing and dark, but it was interesting to see the precursor to that film. I recommend this film for anyone who appreciates solid classic melodramas.

--Shelly

"Separate Tables" (1958) is a movie that I'd been wanting to see for many years, and it was worth the wait. A "Grand Hotel"-type of story that takes place at a quaint English inn by the sea, it features any number of interesting characters, marvelously depicted by a host of great talents. Thus, we get a love triangle between Burt Lancaster, his ex-wife Rita Hayworth (40 years old in this film and still looking very pulchritudinous) and the charming hotel owner Wendy Hiller, who really did earn her Best Supporting Actress Oscar here. We meet the repressed mess of a spinster played by Deborah Kerr, as well as her impossibly overbearing mother (Gladys Cooper, doing here what she did to Bette Davis in 1942's "Now, Voyager"). We get to know retired Army major David Niven, and learn his dark secrets. (Niven, too, earned his Oscar for this fine portrayal; he also costarred with Kerr in another 1958 film, "Bonjour Tristesse.") And finally, we encounter a pair of young lovers, Rod Taylor and the yummy Audrey Dalton, who can't decide if they should marry or not. Many dramatic encounters abound (some of them sexually frank for 1958), and Hayworth's mature and adult performance might come as the pleasantest surprise of the bunch. Personally, I would say that big Burt picks the wrong gal to go off with at the film's conclusion, but I suppose that this is a matter of personal taste. The bottom line here is that this classic film is a wonderful treat for viewers who appreciate good screen writing and who relish deliciously served acting by a bunch of real pros. And this nice, crisp-looking DVD only adds to the pleasure. So do yourself a favor and check into the Beauregard Hotel!