Victim
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Movie Reviews of Victim
Movie Review: Taut, well-acted, entertaining thriller
Summary: 5 Stars
Don't let the title mislead you. Victim is about a man who is anything but helpless. Dirk Bogarde, in a career-defining role, plays a highly respected, but closeted, attorney who risks his marriage and reputation to bring to justice an elusive blackmail ring terrorizing gay men (exposure then meant not only disgrace but prison), and which caused the young man he loved to commit suicide. In the early 1960s, director Basil Dearden's Victim was perhaps the most daring film yet to appear on the British screen. A surprise hit at the box office, many regard it as the work that finally stirred Parliament to begin amending Britain's draconian laws against "homosexual acts."Historical importance aside, Victim still holds up as a taut and entertaining thriller, with excellent performances and some striking cinematography. After more than 40 years, actor Dirk Bogarde's protagonist remains one of the screen's few out and out gay heroes. He gives a richly nuanced, and powerful, performance. The film uses an unusual structural device: Melville Farr (Bogarde) and Jack Barrett (hauntingly played by Peter McEnery), the young man who loves him and whom he loves, never appear together onscreen. In fact, the first quarter of the film involves Jack's increasingly frantic attempts to contact the nervous Farr, who dodges him every way he can. While that "non-meeting" certainly upped the comfort level for many, it also provides a unique dramatic strength. Here absence is powerful in its suggestiveness. And as the film unfolds, we never forget that Farr's single-minded mission - in his role as part lovesick man, part avenging angel - is to bring to justice the blackmailers who drove Jack to kill himself.
As played by the handsome Peter McEnery, Jack comes across as a likable guy, unpretentious and authentic. We never doubt his feelings for Farr, or his genuine affection for the middle-aged men in love with him. And although Jack dies within the first half hour, he dominates the film, causing not only Farr but, on some level, the audience to ask, What injustice caused this affable young man to kill himself?
And that puts all of British society, both gay and straight, on trial. But it also causes the film's only dramatic limitation when, in the second half, polemics takes over. It tries to show the broad impact of homophobia on the widest possible socioeconomic range of characters, from both the straight and gay worlds. There are simply too many people, representing too many permutations of class and taste. However, there are some very powerful scenes, especially between Farr and his wife Laura (played with emotional complexity by the beautiful Sylvia Syms), as they work out the new contours of their marriage. But overall the film's second half was less effective than its first.
In the opening hour, Dearden brilliantly used cinematic means - expressive lighting, slightly off-kilter compositions, propulsive narrative rhythms, and jazzy music - to explore character and theme (all captured superbly in the DVD transfer). In the first half, I saw and felt what it was like to live in that tense world, while in the second half, I heard characters tell me about it.
Still, I highly recommend this film, not only for its historical importance to both GLBT cinema and rights, but because it is an engrossing, well acted and often strikingly shot film. And although the legal and social situation of GLBT people has improved markedly in the past four decades, there is still much emotional truth and insight in this landmark film.
Movie Review: Everybody has secrets...
Summary: 5 Stars
A film that was completely ahead of it's time; `Victim' still remains relevant today. The fact remains that despite the change in societal toleration, much like the racial prejudice that stains the innards of our country, gay relationships will always be a controversial subject. In a time when that issue was barely being spoken of, director Basil Dearden attempted to shed light on the matter with this 1961 thriller about a lawyer facing his past when a dear friend takes his own life.
The film opens with that friend, Barrett, running from the cops. He's not being pursued for his sexual preference, although the anti-sodomy laws would have permitted that. Instead, Barrett is being accused of embezzlement. When he is caught, he hangs himself. He is hiding something that is almost immediately observed. Barrett embezzled the money to pay off a blackmailer threatening to expose his lifestyle to the feds. Soon Melville Farr, a successful lawyer and former friend of the deceased, is contacted. Initially hesitant, Farr is softened by the news that this man is now dead. Insistent on bringing a sense of justice to his friend, Farr uncovers the ring of blackmailers targeting gay men in Great Britain. This move is a tricky one, for his whole life hangs in the balance now. If Melville's past is exposed and he is identified for his true feelings, he would lose his wife and his career.
But, the love he had for a man he refused to help overrides concern for self.
Truth can be found in complaints that this film can seem stilted in moments and it's handling of the gay theme can seem slightly misinformed, but these traits should be (and can easily be) forgiven when you consider what this film stands for. It is the first English language film to tackle this theme so extensively. For the time in which this was released, it really `went for it'. Foreign language films had the audacity to broach these themes for years before `Victim' was conceived, but `Victim' marks a drastic change in cinematic tolerance. It makes a bold and daring observation and points a finger in the direction of the viewer, challenging your own ideals. No matter how you feel when all is said and done, `Victim' should be respected for taking that leap.
The performances found here are mostly all fantastic. Dirk Bogarde is marvelous here. The way he quietly festers under Melville's skin is sensational. The subtle glimmers of his inner torment are seen in every frame as he embodies this man from the inside out. Another standout here is Sylvia Syms, who is just superb as Melville's wife Laura. The way she handles the truth is sensationally captured. You can see her crumble inside. It is such a soft and delicate performance, sending shivers down the spine of the audience.
Basil Dearden's slick direction is also to be singled out. The way he crafted this film as a taut thriller and a rich character study is outstanding. By creating the layered tension he made the film something easier to digest, yet it also exemplified the importance of the message he was relaying.
In the end I highly recommend this film. It sent shockwaves through the world (it was even banned in the states) but its presence can still be felt, and that says multitudes for what it has accomplished.
Movie Review: Taut, well played film
Summary: 5 Stars
A landmark film in 1961, it brought homosexuality out into the open. Well written by Janet Green and John McCormick, the plot tells of a blackmail ring that involves the lives of many "victims". Peter McEnery is a young gay man who is blackmailed and is desperate to avoid his blackmailers and the police. Dirk Bogarde, in a daring move career wise, plays the closeted barrister Melville Farr who had a brief liasion many years ago with McEnery.When McEnery needs his help, Bogarde rebuffs him which results in tragedy for the young man. As character after character become embroiled in this crime their lives start a downward spiral. Everyone in the film becomes a victim of this heinous crime.
Filmed in black and white against a grey London winter, the cinematography sets the right mood. Dirk Bogarde took quite a risk to play Melville Farr. Homosexuality was still very taboo and could have broken his career. Instead it opened up many more serious parts for him. His performance is intense and very downplayed. Sylvia Syms, as his loving wife, matches Bogarde's performance in quality. Her part could have become a bit melodramatic but Syms and director Basil Dearden avoided that pitfall.
This film also reminds viewers of the narrow thinking that prevailed in the early 60's. This was before Stonewall and Gay Liberation. In England you could be imprisoned for many years. The law was repealed in 1966. It is thought that this film was innovative in getting the repeal.
A bonus to the DVD is an interview with Dirk Bogarde.
Movie Review: Bogarde's finest hour...
Summary: 5 Stars
...well, 90 minutes...
A wonderful and courageous film that Dirk (Death In Venice) Bogarde literally risked his career on. Thankfully the gamble paid off, and the film was a success both in terms of the box office, and also in opening up the debate over the suppressive and archaic laws regarding homosexuality.
I recall an interview in which Dirk talked about how strong and supportive the divine Sylvia Syms had been throughout the making of this classic of the British film industry; and the chemistry between these two superb actors is a major component of the film's power.
As others have pointed out in their superb reviews, homosexuality was still very much illegal in 1961 while film was being made, and even after it was decriminalized in 1967, the age of consent for homosexual sex was 21, while it was only 16 for heterosexual sex.
After much pressure from the GLBT community and other concerned groups, the age of consent for homosexual sex in Britain subsequently dropped to 18 in 1994 and 16 in 1998.
An essential film that may well have been the catalyst for some long overdue social change.
Movie Review: Tour De Force by Bogarde!
Summary: 5 Stars
1961's "Victim" is one of those rare films that manages through its excellent dramatic performances to change the collective consciousness of society. Considered ahead of its time and a risky role for its star, Dirk Bogarde, Victim captures the agonizing choices homesexuals had to make prior to the abolishment of Britain's discriminatory sodomy laws. Notable was the fact that none of the gays depicted in the film fit the stereotypical mold of a gay man. Bogarde plays successful British Barrister Melville Farr (Attorney) married to a beautiful special needs teacher Laur (Sylvia Syms). Their world is tranquil and happy until someone from Farr's past makes a desperate attempt to contact him. The events that follow bring pain and heartache for the Farrs as the illusion of their happy marriage disentegrates. Bogarde's performance is calm and dignified. Syms brings welcome restraint to the role of Farr's young wife dealing with the delusionment that her love isn't enough to quench her husband's homosexual desire. Ultimately, what this drama manages to convey is that love is love, and that allo humans,regardless of their sexual orientation are entitled to it.