Le rivage oublié

James Goldman's most beautiful and literary script, a fragile and delicate fantasy/comedy that delivers on its initial promise. Beautifully acted by Scott, Woodward and Gilford, and with a dozen or more cameos that are truly memorable, this is truly a feel-good movie for the literate and the intelligencia. I would rank it among my top half-dozen.

Sadly, i saw this film only once, back in the early eighties;it remains unforgettable.An earlier reviewer said that it echoes Don Quixote as well as Holmes;they were right. Scott was one of the greatest actors, and this is one of his finest films. It is rich in humor and fantasy, and it boasts a very good performance by Ms. Woodward to compliment the one by Scott.

In 1976, ONE FLEW OVER THE CUCKOO'S NEST(1975) was nominated for 9 Academy Awards, winning 5 in all the major categories. But 5 years earlier, another film tackled mental illness (all be it in a different manner) in it's own unique way. This film was THEY MIGHT BE GIANTS(1971). Now many would argue that Cuckoo's Nest was a superior film, and they would probably be right. They Might Be Giants was shot on a miniscule budget, and was cut down for release by studio exec's. In a further insult, the same studio exec's refused to support the Director's bid for a wide release. It's a shame too, because it featured one of the most overlooked comic performances in film history. George C.Scott plays Justin Playfair, a retired judge who thinks he's Sherlock Holmes. And he does it perfectly. Right down to the subtle gestures and mannerisms. In one of films best scenes, Playfair arrives in a local Mental Institution for an evaluation. A struggle breaks out with the patient before him (a mute, who refuses to reveal even his name) and it's up to Holmes to save the day. And Save the day he does. The Dialogue in this scene is brilliant. Some of the best I've ever heard. And it's all Scott. Not only does he get the man to talk, he guesses his name! The supporting cast is excellent as well. Joanne Woodward is the perfect foil as Dr Watson, Jack Gilford as Wilbur Peabody, and the rest of the New York actors are real, and delightfully eccentric. The end of the film with the "March to find Moriarty" is a classic. Listen to the music in this scene, it's great! So if you liked Cuckoo's nest, check this one out...you won't regret it!!

If you look for flaws in this film you will find plenty. Still, I gave this film a 10 vote because it has overriding qualities which are extremely rare. It is a magical film, full of poetry, it touches you where other films cannot reach. It creates a fantasy world of its own in the midst of modern society, a fantasy world which is utterly implausible and yet so compellingly persuasive.

The cast of this gem is mesmerisingly excellent, all parts I can think of are cast with character actors who on their own have stolen entire films from the stars. The central performance by George C. Scott is majestic, and so is John Barry's wonderful score. The film contains many memorable scenes, but outstanding amongst the lot is the supermarket scene. If I had to compile a list of the ten best scenes ever put to celluloid, this would be included.

Unique.

This is a quirky, oddly affecting comedy about a judge, gone psychotic after the death of his wife, who believes that he is Sherlock Holmes. His brother wants him committed to an asylum, not for reasons of concern, but so that he can become executor of the would be Holmes's considerable estate.

A female psychiatrist is asked to interview him for the formality of the commitment but becomes fascinated by the "Holmes" she meets because of his truly extraordinary deductive reasoning. It's apparent that, delusional or not, he may be a genius of some kind, and far more fascinating than most ordinary mortals.

The psychiatrist, whose name just happens to be Watson, joins this Sherlock Holmes in his quest to search the streets of New York City for his nemesis, Professor Moriarty. On the way they meet various other people, also largely spurned by society, but, somehow, kindred souls in an otherwise pretty cold world.

This strange but intelligent, utterly charming film died a quick death at the 1971 box office, but has found a cult following of sorts over the years. George C. Scott, with briar pipe and deerstalker hat, is virtual perfection in the role of the man who believes he is Holmes, while Joanne Woodward, devoid of her usual glamour, playing the socially awkward psychiatrist who starts to gradually believe in his cause, brings a warmth and touching vulnerability to her role.

The film has a few wonderful scenes with lovely little touches. Holmes takes his Watson to a little movie theatre, almost empty but for a few street people, and a makeout couple in the top balcony. Yet the street people there all know him, greeting him with smiles as "Mr. Holmes" at this theatre where he likes to come for comfort and watch westerns.

At another unexpected moment a police officer suddenly comes around the corner, spots "Holmes" and a large smile spreads across his face as he says, "Why, Mr. Rathbone, it's an honor, sir," as he reaches over to shake his hand.

And, towards the film's beginning, there is a marvelous scene in which Scott, dressed as Holmes, arrives at a seedy asylum where an inmate is being abused by an orderly. There's a low angle camera shot of a towering Scott/Holmes as he struts through the hallway unruffled, dispassionately disarming orderlies who try to grab him, then proceeds to analyze the mind of the abused patient in a manner that has the patient's doctor (Watson in her first encounter of him) in almost open mouthed admiration.

The film's final scene will undoubtedly baffle many viewers because of its ambiguity. It's a moment that is clearly open to interpretation. But I think that scene, and this film, are about the soaring human spirit, and a belief in one's self even though logic and all around you may tell you that you are wrong.