John Hodson wrote:Jonathan S wrote:Glad to hear about the big improvement on The Passionate Friends. For sheer technical skill, I think it's one of his most dazzling films, though I always find Ann Todd a chilly performer (perhaps appropriately so in Madeleine) and I always sympathise more with the Claude Rains character than the passionate friends!
That's the thing about 'The Passionate Friends' though isn't it? It turns the conventional eternal triangle tale inside out, so over the course of the picture, Claude Rains (back-combed hair and all) becomes something of a hero. It's a love story (eventually) but not as we know it; 'Brief Encounter' but far more emotionally complex.
In a weird sort of way, I agree with both of you. There is something distinctly Renoir-esque in the way Lean treats all three members of the triangle with great dignity -- though of course Lean's film is much more "serious-minded" (for lack of a better word) than Renoir would ever be about romantic triangles. The problem, however, really is Ann Todd, who can't hold her own against a performer of Rains' skill. We're obviously meant to feel sympathetic to all three characters, but I can't muster much sympathy for Todd. (She does much better in
Madeleine, where as Jonathan points out her coldness/stiffness is put to much better use.)
At the same time,
Passionate Friends had the same first impression on me that
Ryan's Daughter did: much ado about nothing and sytle over substance. I've since changed my mind about the latter film, so I'm looking forward to rewatching the former when I buy this new set.