Based on the novel by John Fowles, The French Lieutenant’s Woman is the story of a Victorian-era gentleman who falls for a social outcast during the 19th Century while two actors playing the characters in a production of the film fall in love with each other. Directed by Karel Reisz and screenplay by Harold Pinter, the film is an unusual drama that mixes the period film with postmodern aesthetics to play into two cross-cutting narratives that blur reality and fantasy. Starring Meryl Streep, Jeremy Irons, Hilton McRae, Emily Morgan, Peter Vaughan, Leo McKern, Richard Griffiths, and Penelope Wilton. The French Lieutenant’s Woman is a ravishing and evocative film from Karel Weisz.
The film follows the love affair between a Victoria-era gentleman in Britain and a social outcast that is considered forbidden as the former is engaged to the daughter of a revered gentleman. At the same time, the story parallels with two actors taking part in a film production of the story that is being told as they’re having their own affair. Harold Pinter’s screenplay provides a cross-cutting narrative of sorts as the bulk of the film is about the story between the paleontologist Charles Smithson (Jeremy Irons) and this mysterious woman in Sarah Woodruff (Meryl Streep) whom he meets as she is standing on a pier during a windy and rainy day. Their relationship is one of intrigue from Smithson’s point of view as he is wondering about her story and why she is considered an outcast. Even as Smithson is reminding himself that he has an obligation to marry Ernestina (Lynsey Baxter) but remains entranced by Woodruff’s presence who often looks out at the sea as it relates to her sense of loss and longing as she had an affair with a married French officer.
Pinter’s script would also have this paralleling storyline in which the actors playing the characters of Smithson in Mike (Jeremy Irons) and Woodruff in the American actress Anna (Meryl Streep) who both begin an affair during the production as they try to figure out the story and characters they’re playing. Yet, their relationship has some complications as both of them are married to other people with Mike wanting to pursue Anna similar to what Smithson is doing in his pursuit towards Woodruff. Still, there is something about Woodruff that is compelling as she is a person that is anguished in her longing as it would often lead to episodes of madness which would drive Smithson into making impulsive decisions into his obsession for Woodruff.
Karel Reisz’s direction is quite exquisite for the way he would mirror certain locations of what it looked like in the 19th Century and what it would look like in the late 20th Century. Shot on various locations in Britain such as Lake Windermere, Exeter, Lyme Regis, the docks of London, and sets at the Twickenham Studios in Britain. The film does play into a world where many of the ideas of obsession and desire haven’t changed where Reisz would be in a certain location where the main story is taking place and then transport it to where the story is being told by the actors as they’re making the film. The approach to the compositions as well as trying to match it whether it’s in a wide or medium shot allows this line of fantasy and reality to emerge though the actors playing these characters are unaware of their relationship starting to mirror the way Smithson and Woodruff happens. Reisz’s close-ups would play into the growing relationship between the two couples in the film while he would create these exquisite wide shots to play into Woodruff’s sense of longing including this opening shot of Anna as Woodruff walking into the pier where Smithson would first meet her.
Reisz’s direction would also infuse elements of melodrama in some aspects of the main story as it relates to Smithson’s own search for Woodruff when she’s been sent away as he turns to others for help as they’re reluctant to knowing it would hurt his social status. Reisz would use some long shots to play into some of the monologues that happens including one in the forest where Woodruff reveals her affair with the French officer and how it ruined her to the point that she would turn into an outcast. The film’s third act would play into the pursuits of Smithson/Mike towards Woodruff/Anna with the latter in Anna attending a gathering held by Mike where it adds some confusion about what she wants to do in her relationship with Mike. Even as they’re about to film the ending as it is revealed that the book had multiple endings. One of which Reisz would make the choice as it add into the journey of these two couples with two different outcomes that blur reality and fiction. Overall, Reisz creates a riveting and enchanting film about a man pursuing an outcast in Victorian-era Britain with its players falling for each other.
Cinematographer Freddie Francis does incredible work with the film’s cinematography with its low-key yet naturalistic look for many of the daytime exterior scenes in the forests as well as the usage of available lighting for scenes at night while the 20th Century scenes is presented with bits of style in its usage of artificial lighting. Editor John Bloom does excellent work with the editing with its stylish transitions in some match cutting of locations in its different time periods as well as some rhythmic cuts to play into the drama. Production designer Assheton Gordon, with set decorator Ann Mollo plus art directors Allan Cameron, Norman Dorme, and Terry Pritchard, does brilliant work with the look of the sets of the 19th Century scenes from the rooms and offices where Smithson goes to as well as the hotel room that Mike and Anna stay at.
Costume designer Tom Rand does fantastic work with the period costumes of the 19th Century scenes as it play into the look and mood of the characters while going for something more casual for the scenes with Mike and Anna. Sound editor Don Sharpe does superb work with the sound in creating some natural textures in some of the locations as well as capturing some of the chaos in the some of the locations. The film’s music by Carl Davis is wonderful for its somber orchestral score that play into the drama as well as in some of the romantic scenes while the soundtrack include a couple of pieces by Johann Sebastian Bach and Wolfgang Amadeus Mozart.
The casting by Patsy Pollock is marvelous as it feature some notable small roles from Penelope Wilton as Mike’s wife Sonia, Peter Vaughan as Ernestina’s father, Richard Griffiths as a young nobleman Smithson gets drunk with, Emily Morgan as a young maid named Mary, Hilton McRae as Smithson’s assistant Sam, Lynsey Baxter as Smithson’s fiancée Ernestina, Charlotte Mitchell as an old woman Woodruff works for, and Leo McKern in a superb performance as Smithson’s mentor Dr. Grogan who helps Smithson trying to decide what is right. Finally, there’s the duo of Jeremy Irons and Meryl Streep in phenomenal performances in their respective dual roles of Charles Smithson/Mike and Sarah Woodruff/Anna. Irons provides a determination as well as a sensitivity in his approach to Smithson who would eventually become obsessed while is more calm but troubled as Mike. Streep has this air of radiance in her approach as Woodruff as a woman filled with a lot of anguish and torment to express her madness while is a bit more aloof yet witty as Anna.
The French Lieutenant’s Woman is a sensational film from Karel Reisz that features great performances from Meryl Streep and Jeremy Irons. Along with Harold Pinter’s inventive script, gorgeous visuals, and a sumptuous score, the film is truly an offbeat yet rapturous film that explores relationships and the pursuit of that in different time periods with two couples taking on paralleling journeys. In the end, The French Lieutenant’s Woman is an incredible film from Karel Reisz.
Karel Reisz Films: (Momma Don’t Allow) – (We Are the Lambeth Boys) – (Saturday Night and Sunday Morning) – (Night Must Fall) – (Morgan – A Suitable Case for Treatment) – (Isadora) – (The Gambler (1974 film)) – (Who’ll Stop the Rain) – (Sweet Dreams (1985 film)) – (Everybody Wins (1990 film))
© thevoid99 2018
Based on the Gustave Fluabert novel Madame Bovary, Ryan’s Daughter is the story of a young Irish woman who has an extramarital affair with a British officer that causes trouble in her home where lots of morality is questioned. Directed by David Lean and screenplay by Robert Bolt, the film is a loose take on the Flaubert novel as it is set during World War I amidst a sense of cultural and political tension between the British and the Irish. Starring Sarah Miles, Robert Mitchum, Trevor Howard, John Mills, Christopher Jones, and Leo McKern. Ryan’s Daughter is a ravishing but flawed film from David Lean.
Set in an isolated village near the Atlantic coast in Ireland during World War I in the backdrop of escalating tension between the British and Irish. The film revolves around a young woman who marries a widowed schoolteacher as she suddenly falls for a wounded British officer as it causes problems once the affair is known by the locals. It’s a film that is quite simple but it’s told in a broad scale as Robert Bolt’s script has this very unique structure as it plays into the life of Rosy Ryan (Sarah Miles) as the first act is about her marrying the middle-aged schoolteacher Charles Shaughnessy (Robert Mitchum) while the second act introduces the character of the British officer Major Randolph Doryan (Christopher Jones). The third act doesn’t just relate to the unveiling of the affair but also a key incident that relates to this tension between the British and Irish.
The script doesn’t just explore the tension between Britain and Ireland where the Irish are upset at the presence of the British in their land. It also plays into Rosy who is fond of Shaughnessy who is just a lonely widower that is devoted to teaching children where she falls for him and things seem fine. Yet, Rosy feels like marrying Shaughnessy isn’t enough until her meeting with Major Doryan at her father’s pub is where things get really interesting story wise but there’s some big flaws as it relates to the Major Doryan character. While it is revealed that Major Doryan is there to watch over the base, he is someone that comes off as underwritten as it is obvious that he is an officer with a bad leg and some post-traumatic stress disorder but he’s never fully fleshed out other than just some object of desire for Rosy whereas Shaughnessy is a far more interesting character who really has a lot more to offer in terms of character and in development.
Another issue with the script is the character of the village idiot Michael (John Mills) as he is someone that is just there that would be a witness or would do something in a form of pantomime as it’s an odd character. One of which raises questions into why is there character there and what is his importance to the story? He’s someone that never really connects with anything that happens where it’s just one of these things that are very distracting while the portrayal of the villagers who would act very savagely in the third act also become problematic. Though there is a valid reason into their anger, it shows them more as monsters who ignore the idea of reason as the one character in the film that is sort of the film’s conscience is Father Hugh Collins (Trevor Howard).
David Lean’s direction is mesmerizing for not just the look of the locations near the Dingle Peninsula in Ireland but also in creating a world that is large though it is set in this very small town that is remote from the rest of the world. The usage of wide and medium shots don’t make the locations an integral part of the story but it also plays into a world that is changing around this town that really has very little clue on what is happening outside of the world. From the scenes of the beach, cliffs, and mountains outside of the town, it’s a world that is peaceful while the town itself looks dreary and detached from the world as it reflects on a world that Rosy and Shaughnessy live in where they’re part of a community but are also very different. While it is clear that Father Collins is sort of this moral leader that the town has to abide to, he is also the one person for Rosy and Shaughnessy can confide to as it adds to the drama.
The direction also play into elements of fantasy and reality as it relates to what is going on in the film’s second half where Shaughnessy begins to suspect that something isn’t right in his marriage. The usage of close-ups and medium shots add to some of the emotional drama while there are also these moments that showcases the dramatic tension within Rosy who feel like she is torn in her devotion towards her husband and the passion she has for Major Doryan. Lean’s approach to humor for the scenes involving Michael don’t work as it is one of the key faults of the film. Some of the elements in the third act as it relates to the IRB (Irish Republican Brotherhood) and British forces do go overboard once the villagers become savages over Rosy’s affair with Doryan also gets over-the-top where they would also target Shaughnessy. Overall, Lean creates a beautiful and engaging but messy film about an Irish woman’s affair with a British soldier during World War I.
Cinematographer Freddie Young does incredible work with the film‘s photography in terms of its gorgeous scenery of the locations as well as creating moods in some of the interiors and scenes set at night or in the rain as Young‘s work is a major highlight. Editor Norman Savage does excellent work with the editing in creating a few montages for some of Major Doryan‘s flashbacks as well as some rhythmic cuts for some of the dramatic moments in the film. Production designer Stephen B. Grimes, with set decorator Josie MacAvin and art director Roy Walker, does amazing work with the look of the small town as well as Shaughnessy schoolhouse and the pub where Rosy‘s father works and runs.
Costume designer Jocelyn Rickards does nice work with the costumes from some of the stylish dresses that Rosy wears to the suits of Shaughnessy and the uniforms of the British officers. Sound editors Ernie Grimsdale and Winston Ryder do superb work with the sound from the way the wind and storms sound on location as well as the raucous parties that goes on in the village. The film’s music by Maurice Jarre is brilliant for its orchestral-based score that has some unique touches in its string arrangements where it’s playful at times while having some military-inspired marches and some dramatic pieces though there’s moments that do feel odd in terms of where the music is used in the narrative.
The film’s cast include some notable small performances from Barry Jackson as a British corporal, Evin Crowley as the local lush Moureen Cassidy, Gerald Smith as the camp caretaker Captain Smith, Brian O’Higgins as the British sympathizer Constable O’Connor, Arthur O’Sullivan and Marie Kean as the McCardles who are very supportive of the IRB cause, and Barry Foster as the IRB leader Tim O’Leary who wants the British out of Ireland as he tries to start a guerilla war against them. Leo McKern is superb as Rosy’s father Tom Ryan as a pub owner who is also an informant for the British as he would often give them bad information until one key moment that would showcase some shame and cowardice for what he really is.
John Mills as the mentally-challenged village idiot Michael is really one of the most baffling performances in the film has he serves very little purpose to the story while being this unnecessary distraction as it’s just odd in a bad way. Christopher Jones’ performance as Major Doryan is just terrible as it’s just bland while Jones never does much to flesh out the character while he is too restrained his role as he rarely speaks (under the dubbed voice of Julian Holloway) where he is just very unsympathetic and never does enough to display the troubles of his PTSD.
Trevor Howard is brilliant as Father Hugh Collins as the film’s conscience of sorts as a man of great moral who understands Rosy’s struggle to be faithful while being aware of what is going on as he realizes, despite his sympathies for IRB, that Rosy and Shaughnessy are being victimized over nothing. Sarah Miles is amazing as Rosy Ryan as a young woman who falls and marries the middle-aged Shaughnessy while having an affair with Major Doryan as this young woman who is conflicted in her feelings and coming to terms with the envy she had received from locals. Finally, there’s Robert Mitchum in a remarkable performance as Charles Shaughnessy as a kind and widowed schoolteacher who marries Rosy as he’s a man of old values but is willing to make changes where later copes with what is happening as it is a restrained but touching performance from Mitchum in one of his underrated performances in his career.
Ryan’s Daughter is a stellar but underwhelming romantic-epic film from David Lean. While it has some beautiful images from Freddie Young’s cinematography in its Super Panavision 70 format as well as great performances from Robert Mitchum, Sarah Miles, and Trevor Howard. It’s a film that doesn’t do enough to create a compelling story while having some strange choices in some of the characters and motivations. In the end, Ryan’s Daughter is a rapturous but extremely flawed film from David Lean.
David Lean Films: In Which We Serve - This Happy Breed - Blithe Spirit - Brief Encounter - Great Expectations (1946 film) - Oliver Twist (1948 film) - The Passionate Friends - Madeleine (1950 film) - The Sound Barrier - Hobson’s Choice - Summertime (1955 film) - The Bride on the River Kwai - Lawrence of Arabia - Doctor Zhivago - (Lost and Found: The Story of Cook’s Anchor) - A Passage to India - (The Auteurs #74: David Lean)
© thevoid99 2016
