Reams have been written by assorted critics, academics and theologians as to the nature of Graham Greene's 'faith' and some have even suggested that he wasn't a true Catholic at all but merely used Catholicism as a framework for his 'serious' novels. Very few however would deny his narrative skills and his gift for penetrating characterisation.
His fourth so-called 'Catholic' novel opens with the words 'This is a record of hate, far more than of love' and is indeed one of his most personal, based as it is upon his lengthy affair with the beautiful and married American Catherine Watson. He has become writer Maurice Bendrix and his paramour is named Sarah Miles. In Lenore J. Coffee's adaptation Bendrix is played by Van Johnson and is a far more sympathetic character, in keeping with Mr. Johnson's persona, whilst Sarah gives Deborah Kerr the opportunity to once again tug at our heartstrings.
On paper Mr. Johnson and Miss Kerr would not really be a match but their pairing works surprisingly well. They are complemented by Peter Cushing whose performance as her ineffectual husband Henry is simply superlative. Director Edward Dmytryk is also well served by excellent performances from Michael Goodliffe as an avowed atheist whose 'gospel of hate' brings Sarah closer to God and Nora Swinburne, perfectly cast as Sarah's mother. John Mills does one of his Mockney turns as a private detective and although his character is well observed, its value as a bit of comedy relief is debatable. Greene noted in his diary that he watched the film one and a half times as he couldn't face the detective a second time! The pivotal but underwritten role of the Catholic priest is played by Stephen Murray who again succeeds in taking dullness to a new level.
It is by and large the very Englishness of this film that makes it so effective and this is aided immeasurably by Wilkie Cooper's greyish cinematography. It also confirms the universal image of England as a nation in which it never stops raining.
As a man obsessed with jealousy who finds to his horror that the rival for his affections is God, Van Johnson has never to my knowledge been quite as effective whilst Peter Cushing's character is so convincing that one yearns to shake him out of his complaisancy. This film is of course all about the wondrous Deborah Kerr as Sarah whose angst-ridden guilt and interminable soul-searching could so easily be tedious. Although one of Miss Kerr's least lauded performances it is undeniably one of her most hauntingly heartfelt.
His fourth so-called 'Catholic' novel opens with the words 'This is a record of hate, far more than of love' and is indeed one of his most personal, based as it is upon his lengthy affair with the beautiful and married American Catherine Watson. He has become writer Maurice Bendrix and his paramour is named Sarah Miles. In Lenore J. Coffee's adaptation Bendrix is played by Van Johnson and is a far more sympathetic character, in keeping with Mr. Johnson's persona, whilst Sarah gives Deborah Kerr the opportunity to once again tug at our heartstrings.
On paper Mr. Johnson and Miss Kerr would not really be a match but their pairing works surprisingly well. They are complemented by Peter Cushing whose performance as her ineffectual husband Henry is simply superlative. Director Edward Dmytryk is also well served by excellent performances from Michael Goodliffe as an avowed atheist whose 'gospel of hate' brings Sarah closer to God and Nora Swinburne, perfectly cast as Sarah's mother. John Mills does one of his Mockney turns as a private detective and although his character is well observed, its value as a bit of comedy relief is debatable. Greene noted in his diary that he watched the film one and a half times as he couldn't face the detective a second time! The pivotal but underwritten role of the Catholic priest is played by Stephen Murray who again succeeds in taking dullness to a new level.
It is by and large the very Englishness of this film that makes it so effective and this is aided immeasurably by Wilkie Cooper's greyish cinematography. It also confirms the universal image of England as a nation in which it never stops raining.
As a man obsessed with jealousy who finds to his horror that the rival for his affections is God, Van Johnson has never to my knowledge been quite as effective whilst Peter Cushing's character is so convincing that one yearns to shake him out of his complaisancy. This film is of course all about the wondrous Deborah Kerr as Sarah whose angst-ridden guilt and interminable soul-searching could so easily be tedious. Although one of Miss Kerr's least lauded performances it is undeniably one of her most hauntingly heartfelt.