The subject of this film, which is pedophilia, is still extremely uncomfortable for many moviegoers, even in this day when it seems, at least to this old man, that "anything goes" on the screen and everywhere else. In 1961, the subject of child molestation was so controversial that this film could not even be made in the United Kingdom, the locale of its original setting, and was exiled to Ireland.
From the very start, the "no frills" and low gloss look of this stark black and white feature force the viewer to focus on the acting, which is first-rate, especially the role of the psychologically tormented lead character, Jim Fuller, who is played with great depth by Stuart Whitman. Fuller was convicted of the "intent" to commit child molestation. In my view, "intent" is critical in this case because we never witness him actually carrying through with the act. In fact, once he gains control of his repressed desire, he becomes sick to his stomach with his own dreaded, inner thoughts. Should this by itself make us more sympathetic to him than we would be if he actually fulfilled his sexual fantasies?
Fuller serves his time in prison and participates in a rehabilitation program that provides him with a roof over his head and an excellent position with a wonderful company, where he works for an unusually understanding boss. It just so happens that the boss has a beautiful assistant, Ruth Leighton (Maria Schell), a young widow with whom Fuller very quickly becomes romantically involved. Not having been in a government sponsored prisoner rehab program, now I understand what I've been missing for all of these years. And, yes, considering many of my dreary past work environments, I AM terribly jealous of Fuller. To make life all the more challenging for Fuller, Ruth just happens to have an adorable, blonde young daughter, Janie (Amanda Black--not Amanda Blake!), so we watch helplessly as Fuller is hopelessly set up for really big trouble. All that's missing is a scoundrel of a tabloid writer who is hungry for a scandal in order to prove his worth to the human race, which, of course, is zero. Ms. Schell, by the way, gives a very seamless, natural performance as the non-threatening, easy going solution to Fuller's basic problem. Considering her brother Max's phenomenal acting ability, I think that talent does sometimes run in the veins.
Whenever Rod Steiger appears in a film, I know that the man will deliver as promised. He never disappoints me, no matter how peculiar or even unbelievable his character is as written, and his portrayal here as Dr. McNally is no exception. As a guy out of the West Side of Newark, New Jersey he must have had a real blast working on that Irish accent. I never engaged the services of a psychiatrist, probably to my own detriment and that of the people closest to me, but do psychiatrists usually invite their clients to their own engagement parties? Do they encourage convicted pedophiles to spend time with the young daughters of their dates? Do they generally encourage them to drink straight whiskey? And, most of all, do they always keep 24/7 office hours and make themselves available as the client requires, regardless of the lateness or any other commitments that they may have? No medical doctor of mine ever did.
Brenda de Banzie should also be commended for her usually skillful performance ("The Entertainer", "The Man Who Knew Too Much" (1956)) as the meddlesome, intrusive landlady who takes an unsolicited, physical interest in Fuller, her boarding house tenant. Did the rehab program require Fuller to live with these disagreeable, intrusive Cartwrights? As in the case of Humbert Humbert during Charlotte's initial grand tour in "Lolita", I would have fled the premises even before I had the opportunity to see the backyard. But that is a review for another day.
Regardless of the nature of the actual crime and the statistics on pedophile recidivism, which have been mentioned in other reviews, an important issue here involves the many, formidable obstacles that prevent released prisoners from the ability to rehabilitate themselves when they re-enter society. And how many released prisoners in reality have the good fortune to find the compassion of a Ruth Leighton or a Dr. Edmund McNally readily awaiting them on the other side? I seriously wonder.
Yes, this movie may have a few Swiss cheese holes, but the subject is a very important one and the superb acting alone must be seen and appreciated.
From the very start, the "no frills" and low gloss look of this stark black and white feature force the viewer to focus on the acting, which is first-rate, especially the role of the psychologically tormented lead character, Jim Fuller, who is played with great depth by Stuart Whitman. Fuller was convicted of the "intent" to commit child molestation. In my view, "intent" is critical in this case because we never witness him actually carrying through with the act. In fact, once he gains control of his repressed desire, he becomes sick to his stomach with his own dreaded, inner thoughts. Should this by itself make us more sympathetic to him than we would be if he actually fulfilled his sexual fantasies?
Fuller serves his time in prison and participates in a rehabilitation program that provides him with a roof over his head and an excellent position with a wonderful company, where he works for an unusually understanding boss. It just so happens that the boss has a beautiful assistant, Ruth Leighton (Maria Schell), a young widow with whom Fuller very quickly becomes romantically involved. Not having been in a government sponsored prisoner rehab program, now I understand what I've been missing for all of these years. And, yes, considering many of my dreary past work environments, I AM terribly jealous of Fuller. To make life all the more challenging for Fuller, Ruth just happens to have an adorable, blonde young daughter, Janie (Amanda Black--not Amanda Blake!), so we watch helplessly as Fuller is hopelessly set up for really big trouble. All that's missing is a scoundrel of a tabloid writer who is hungry for a scandal in order to prove his worth to the human race, which, of course, is zero. Ms. Schell, by the way, gives a very seamless, natural performance as the non-threatening, easy going solution to Fuller's basic problem. Considering her brother Max's phenomenal acting ability, I think that talent does sometimes run in the veins.
Whenever Rod Steiger appears in a film, I know that the man will deliver as promised. He never disappoints me, no matter how peculiar or even unbelievable his character is as written, and his portrayal here as Dr. McNally is no exception. As a guy out of the West Side of Newark, New Jersey he must have had a real blast working on that Irish accent. I never engaged the services of a psychiatrist, probably to my own detriment and that of the people closest to me, but do psychiatrists usually invite their clients to their own engagement parties? Do they encourage convicted pedophiles to spend time with the young daughters of their dates? Do they generally encourage them to drink straight whiskey? And, most of all, do they always keep 24/7 office hours and make themselves available as the client requires, regardless of the lateness or any other commitments that they may have? No medical doctor of mine ever did.
Brenda de Banzie should also be commended for her usually skillful performance ("The Entertainer", "The Man Who Knew Too Much" (1956)) as the meddlesome, intrusive landlady who takes an unsolicited, physical interest in Fuller, her boarding house tenant. Did the rehab program require Fuller to live with these disagreeable, intrusive Cartwrights? As in the case of Humbert Humbert during Charlotte's initial grand tour in "Lolita", I would have fled the premises even before I had the opportunity to see the backyard. But that is a review for another day.
Regardless of the nature of the actual crime and the statistics on pedophile recidivism, which have been mentioned in other reviews, an important issue here involves the many, formidable obstacles that prevent released prisoners from the ability to rehabilitate themselves when they re-enter society. And how many released prisoners in reality have the good fortune to find the compassion of a Ruth Leighton or a Dr. Edmund McNally readily awaiting them on the other side? I seriously wonder.
Yes, this movie may have a few Swiss cheese holes, but the subject is a very important one and the superb acting alone must be seen and appreciated.