Aired out, but still smelling of mothballs, this mid-‘30s play by Edward Wooll (on B’way with Colin Clive & Wilfrid Lawson) with its WWI backstory updated to WWII, was long past its sell date even in 1959, yet not quite spoiled. Or not once it gets past an awkwardly ‘opened up’ first half and rejoins the play in the courtroom. Dirk Bogarde, overacting to set up the big twists at the end, is the emotionally wounded war vet with a bad memory. Why, he’s not even quite sure if he’s himself! Could he be an imposter? Specifically, that rather nasty P.O.W. mate who looked just like him. Yikes! Stalag Doppelgänger! Wife Olivia de Havilland is equally unsure. Married after the war, no doubt her old flame came home noticeably changed, but it’s still him, isn’t it? Or could he just be some clever villain, playing along as best he can to win her love . . . and the family estate? And there’s a third man, another pal from prison camp who brings this all to a head by publishing a condemnation that leads to the libel suit and the big courtroom drama. Good thing, too, as the film immediately picks up, especially with Robert Morley & Wilfrid Hyde-White as opposing defender & prosecutor. (Morley quite exceptional, an entire brass band all on his own.) Anthony Asquith also much relieved, waking up from what had been a directorial sleepwalk. With Borgarde earning his dramatic payoff after all that shady furrowed brow business; and de Havilland coming thru like a champ when she finally gets a big showy opportunity.
DOUBLE-BILL: The big success of Agatha Christie’s WITNESS FOR THE PROSECUTION/’57 (Charles Laughton, Marlene Dietrich & Tyrone Power under Billy Wilder) probably got this one up & running.
ATTENTION MUST BE PAID: Bogarde whistles a little tune all thru the pic. And while the score is by Benjamin Frankel, this refrain sounds lifted right out of Aaron Copland’s music for THE RED PONY/’49.
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