A critical failure at the time of its release and considered something
of a let-down for its director and star, (it was certainly an odd choice
of material), this 1964 film version of Emlyn Williams' play, (it was
written in 1935 and filmed two years later with Robert Montgomery), is
nowhere near as bad as people say. It's the one about the young
psychopath, (a terrific Albert Finney), who worms his way into the
affections of elderly invalid Mona Washbourne, (superb), and her
initially stand-offish daughter, (an excellent Susan Hampshire). The
problem is that in attempting to get to the psychological heart of the
piece director Karl Reisz drains it of all suspense and Clive Exton's
screenplay, (I haven't seen or read the original play), is a bit on the
dull side. But neither is it a disaster and I have never understood why
it disappeared so soon after its initial appearance.Wednesday, 15 May 2019
NIGHT MUST FALL **
A critical failure at the time of its release and considered something
of a let-down for its director and star, (it was certainly an odd choice
of material), this 1964 film version of Emlyn Williams' play, (it was
written in 1935 and filmed two years later with Robert Montgomery), is
nowhere near as bad as people say. It's the one about the young
psychopath, (a terrific Albert Finney), who worms his way into the
affections of elderly invalid Mona Washbourne, (superb), and her
initially stand-offish daughter, (an excellent Susan Hampshire). The
problem is that in attempting to get to the psychological heart of the
piece director Karl Reisz drains it of all suspense and Clive Exton's
screenplay, (I haven't seen or read the original play), is a bit on the
dull side. But neither is it a disaster and I have never understood why
it disappeared so soon after its initial appearance.
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