This is the work of the two Terences. The auteur filmmaker Terence Davies who’s uncompromising style has greatly restricted his output to just five features films sporadically over 23 years has put his own take on Terence Rattigan’s acclaimed post-WW2 play that hit a raw nerve when it was first staged in London in the early 1950’s.
Set in a rather austere and slightly uptight Britain still trying to regain some sense of normality after the devastating effects of the War, it tells the story of Hester who leads a privileged but passionless life as the wife of Sir William Colver a an older rather dour High Court Judge. To the utter dismay of everyone she leaves her husband and moves in with Freddie a dashing young ex RAF pilot in his rather shabby lodgings even though she is aware right from the start that he is not in love with her.
Freddie is a somewhat lost soul and seems unable to find his way in civilian life and seeks solace in drink and only comes alive when he is with his mates in the local Pub. Hester soon feels totally isolated and left stranded in the sad existence of her new life, and attempts suicide to win back Freddie’s attention if not his love, but this only estranges him further and she is forced to deal with the realities of this untenable situation.
This frank exposure of insecurities in class and sex shocked playgoers back in the 50’s and in an attempt to recreate that vivid reaction with a contemporary audience Davies has altered Rattigan’s script to make his movie version much more melodramatic. With additions to the story line, some very stunning authentic sets dramatically lit, and the overpowering resonant violin music throughout I think he pulls it off. But then again I have a great weakness for good Brit period pieces like this and so maybe I am biased.
Rachel Weisz’s understated powerful performance as Hester completely captivated me although some critics dismissed it as cold and emotionless. I was ready to add her name to the Nominations for an Acting Award but for some odd reason I don’t even think the movie will be released in the US in time for it to qualify.
The title of the piece comes from Hester’s dilemma of having to make her choice between two equally undesirable situations, and what makes this movie work is that it is completely nonjudgmental. Hester however never gets to hear her mother-in-law say one of the best lines in the movie when she warn’s, ‘Beware of passion , it always leads to something ugly.’ She is so wrong!
★★★★★★★★
Labels: British, period drama
