Accident

Not a lot happens, but we were glued to The Accident. The script is wonderfully understated. Pinter as screenplay writer is a different style from Pinter the playwright. Pinter teases us, though, with a small cameo performance of his own using almost mock-Pinter dialogue for that one short scene. Also of note script-wise is the scene soon after Pinter's scene when Dirk Bogarde visits his old flame in London and the dialogue is almost thoughts, almost dialogue - you don't see either of them actually speaking.

The cinematography on this movie is superb. Oxford in the summer is a soft target for beautiful shots, but this film fills its boots with that beauty. Yet the dark mood never leaves you despite the beauty - partly because 90% of the movie is a flashback, so you have already seen most of the tragedy unfold. Also, the behaviour of the two professors is just so awful. Dirk Bogarde comes across somewhat sympathetically because he is Dirk Bogarde, but the character is a more or less unmitigated toad. The Stanley Baker character is also horrible. The acting of all the main characters is superb.

This is high class stuff - seek it out.

Watching this film again in 2010, it is amusing to see how much they smoked and drank. Students would arrive for tutorials and the professor would pour out a generous glass of the hard stuff or at least sherry. Stephen's pregnant wife takes an afternoon nap with a bottle of beer on the bedside table. Charley arrives for lunch carrying a couple of bottles of liquor, which gets consumed in the afternoon. Not surprisingly William ends up passing out face down in the salad! Anyone playing the drinking game and trying to keep up with the characters would be out cold halfway through the film.

Everything about the film was note perfect, with the exception of Jacqueline Sassard's stiff performance. Her character was supposed to be Austrian, so why did she try to look like an Italian starlet with that dreadful eye makeup. Perhaps they could not afford Gina Lollobridgida! Not only did she not look the part, but her voice was flat and harsh. I spent the movie wondering what on earth any of the men saw in her. If only they had used Marianne Faithful, who would have looked like an Austrian and given off an air of unattainability, at least until her affair with Charley was discovered.

I could not help feeling that if Anna had been written out altogether and the object of desire had been the beautiful William, played to perfection by Michael York, it might have been more interesting. Perhaps there was an subtle undercurrent which I missed. Filmmakers were not quite so obvious in 1966. Other than that, the wonderfully atmospheric film beautifully conveyed the long hot humid summer days of the south of England and the polite banter of the elite academics disguising an envious loathing of each other as they drank their way through the day.

40 years on I have never forgotten one little quote in the film by the provost who, upon hearing that a study into the sex habits of students at the University of Wisconsin revealed that 0.01% had intercourse during a lecture on Aristotle, remarked that he was surprised to find Aristotle on the syllabus in Wisconsin. With snappy one liners like that, how can you forget this film.

Late one evening in the English countryside two inebriated students on their way to visit Stephen (Dirk Bogarde) an Oxford professor who has been tutoring both, crash the car they are in killing the male ( Michael York). Stephen pulls Anna (Jaqueline Sassard)from the wreck and then possibly covers up for her part. The story then moves backwards in objective and dispassionate detail that first brings them and others together before the climax returns you with a group of facts to assess your own feelings about each character as the film plays itself out.

Accident is one cold and remote study of human behavior even for English academia. Director Joseph Losey and writer Harold Pinter erase any hints of compassion and understanding while ironically rendering men of vast knowledge non communicative to intimates as they try to come to terms with their own repressed desires. Bogarde is tailor maid to play Stephen. Defrosting little from his character in The Servant created by the same team he remains in a perpetual dark night of the soul even during moments of bliss. Fellow prof Charley ( Stanley Baker) is more nuanced and well played against type by Baker, even more deluded in his mid life crisis. The two have some excellent scenes together as Pinter's script and Losey's long takes build suspense fully but sometimes misleadingly. Vivien Merchant provides her usual laid back style of deceptive power while Michael York exudes youth and life with Jaquelline Sassard beautiful and comatose. There's also an excellent cameo by Harold Knox as a senior provost foreshadowing Stephen's future, who has to be reminded of his daughter's name. It's an almost soul less existence with all emotion cut off.

Accident reflects its title perfectly and in doing so makes it impossible for you not to look away. It is a challenging, exasperating and for some rewarding experience.

"Accident" was a somewhat ripe little novel by Nicholas Mosley about the sex lives of dons, (of the Oxbridge type rather than the Juan or Giovanni kind). It was a good book but hardly memorable. The film that Joseph Losey made of it, however, was a different kettle of rancid fish altogether. Harold Pinter wrote the script and it's a brilliant piece of work, as acerbic, as nasty and, by God, as intelligent as any of his celebrated theatre work and Losey's direction is pitch-perfect. Perhaps no writer and director were ever quite as in simpatico as Pinter and Losey. The film is told in flashback. It opens stunningly with the accident of the title that introduces us to three of the central characters; the driver of the car, the young woman with him and the don who finds them. The driver is a young Michael York, the girl is Jacqueline Sassard and the don is Dirk Bogarde, magnificent here in a performance as fine as his work in "The Servant" or "Death in Venice". The film then jumps back in time as we meet the other characters caught up in the sexual shenanigans; Stanley Baker as another don, raffish and full of bluster where Bogarde is introverted and ineffectual and Vivien Merchant as Bogarde's pregnant wife. They, too, are superb but then everyone, no matter how small their part, is superb; everyone is there for a reason. Primarily this is a film about sexual tension and unfulfilled desires, about petty jealousies and how all this sublimated sexual longing can lead to disaster. It is a film made up of long, virtuoso passages; a drunken Sunday lunch that turns into a drunken evening of recrimination and which brings all the main characters together, Bogarde's visit to an old flame, (Delphine Seyrig), a cricket match and, of course, the crash itself and it's aftermath which is, naturally, sexual. This is great film-making, quite rare in British cinema. Paradoxically the film is among the most English and, at the same time, among the least English of pictures. Superbly photographed, too, by Gerry Fisher and with another great Johnny Dankworth score this is a masterpiece.

***User-reviewer st-shot ("Accident keeps its distance", st-shot from United States, 11 April 2011) has a well-written commentary. So does Slime-3 ("Tense, measured actors piece which now shows it age", Slime-3 from Gloucester, England, 13 November 2012).***

"The Accident (1967, Joseph Losey)", a sexual foursome, is challenging but rewarding. It is written by Nicholas Mosley, adapted by Harold Pinter and directed by Joseph Losey. This third Losey-Pinter collaboration has a smoldering intensity even though there are many scenes concerning the everyday details of a comfortable University of Oxford society. "Accident" is intensely visual and austere. Casual film-goers are not its intended audience. Still, it has great emotional depth and is memorable.

It starts with a fatal car crash in the UK countryside. Stephen (Dick Bogarde), an Oxford professor of philosophy, rescues Anna (Jacqueline Sassard), an attractive young student, from the wrecked car. Stephen leaves behind the corpse of William (Michael York), whose frozen face becomes a recurring image. Flashbacks take us back to when Anna and William first become Stephen's pupils. Stephen is a repressed husband going through a middle-life crisis with a variety of frustrated ambitions. He has two kids, a wife Rosalind (Vivien Merchant) who is pregnant with a third, and the growing family resides in an elegant rural home. (Too bad philosophy professors are not as well compensated today.) As Stephen first meets and begins to tutor Anna, he is attracted to her but restrains from making a move. The chief instigator of most of the mischief that follows is another Oxford professor and TV personality Charley (Stanley Baker). Stephen and Charlie have an adversarial friendship which resembles a war, they are typically hostile to each other and openly competitive. Young William, an aristocrat, is athletic and vital. He never learns the Awful Truth about his new circle of friends.

"The Accident" seems to be portraying several pairs of dopplegangers, with the struggle between Stephen and Charley the featured one. Stephen is intensely jealous of Charlie but is stymied from catching up. Stephen mimics his rival by having his own extra-marital affair as well as attempting to appear on television. Rosalind and Anna are also two of a kind; they both facilitate Stephen's infidelity. (Rosalind's lack of concern to her husband over whether he is cheating seems dreamlike.) William, who is often in motion, has no human counterpart but sort of reminds us of the family dog, who we see fetch a ball once or twice. Stephen's two children have matching speech, etc.

Watching Stephen vs. Charley is mesmerizing. Dick Bogarde is an amazing actor. He reminds me of a less physical, more everyman-version of Marlon Brando. (Brando merged with Al Pacino?) There is often a primal quality with Bogarde's delivery that is stunning. Stanley Baker, who possessed a much-reviewed face (i.e., the consensus seems to be that he is as frightening as he is handsome), is another teapot that is always about to boil over. As with "The Servant (1963, Losey-Pinter)", there is a role reversal coming between two evenly matched, perpetually competing males.

The cinematography employs muted colors, contributing to a sense of gloom. Losey has a visual leitmotiv. He often frames points of interest between verticals and horizontals which reduce the effective frame size. When he does this we immediately recall William's deceased face, which is also restricted in the frame by the car wreckage. At the very minimum, Losey is doing this to remind us what is coming. By the way, I really love the sequence where Stephen has an affair with Francesca. The lovers are filmed silently with their conversation overdubbed. It creates a uniquely dreamlike experience.

This Losey and Pinter collaboration takes patience but will be enjoyed by cinemaphiles. However, please don't drive over to The revival theater showing this after having guzzled whiskey like a 1960s-era Oxford philosophy professor.