Dirk Bogarde, Olivia deHavilland, and Paul Massie star in this mistaken identity mystery. Bogarde has a dual role as Sir Mark Loddon and his lookalike Frank Welney; de Havilland is his wife, Margaret, and Massie is his war buddy, Jeffrey. It seems that Loddon, Welney and (Jeffrey) Buckenham were POWs together. They escaped, but one of them went missing. The question that this movie turns on is who disappeared--Mark, or Frank?
Jeffrey is perturbed to see Frank masquerading as Mark; at least he thinks that's what's going on. As a result, Frank sues Jeffrey for libel. Then we get the opposing attorneys Sir Wilfred (Robert Morley) and Hubert Foxley (Wilfrid Hyde-White), and the judge (Richard Wattis). This is a courtroom drama, but has wartime flashbacks. Mark isn't exactly convincing; he's shell-shocked (PTSD we say these days). There's quite a bit of evidence to call his identity questionable. Will we see opposing counsel pull rabbits out of their hats?
So, we begin with a night-time London street scene, and a soldier, Jeffrey, walking about. He goes into a pub; on tv, there's a show featuring the Loddon family. Jeffrey's fixated on the program, so he talks a girl into inviting him over to watch the rest of it. The documentary-like show follows Mark's family history, plus how own. We learn that after the war he'd been hospitalized for a time. Anyway, he can't remember who was at a birthday dinner from before the war.
Jeffrey is boiling up at all the pleasant banter of the program. Now we see the Loddon's point of view. Mark is upset that he can't remember stuff, but his wife smooths things over. Strangely, he looks elderly and with out, especially compared to Jeffrey. Later, he screams at after playing a certain time on the piano. Clearly, he's in a state; a recurring nightmare (or delusion?). Wow, does he have a swanky mansion; while Jeffrey joins a tour of the place, Mark goes riding.
Jeffrey stays on to confront Mark. A strange reunion--Mark's cheery, Jeff's suspicious, calling him Frank. "I know what happened to Mark. I'm going to make you pay for this!" He's not after blackmail. Soon he's looking up Mark's cousin, Gerald (Anthony Dawson). Jeff tells Gerald that Mark "didn't come back from the war." Gerald says that Mark's changed, but doesn't believe he's not literally the same person. He suggests contacting a tabloid paper for an expose: soon they're running this story-- "Bogus Baronet."
Apparently, the gossip mill is up and running; why? By now, Mark accused Margaret of doubting him. Back at Gerald's work place, Jeff reveals that Mark's sued him for libel. Gerald gives him some bit of evidence. Clearly, Gerald stands to gain if his cousin is shown to be an imposter. So far, things are tumbling along with a sort of contrived inevitability; if it's do obvious that Mark is really Frank, why had it taken so long to notice (from 1945 to 1959)?
Is there anything that Mark hasn't told Margaret? He doesn't think so. To court. Mark takes the stand. He admits that his memory is "unreliable" and "disjointed." Nonetheless, he gives some tiny details of pre-war experiences. Frank's name comes up. The attorneys' antics and comments have dome assiduous withering bite. A wartime letter from Mark reveals that Frank looks remarkably like him. A flashback shows both of them (by some cinematic magic) in the prison camp. One's got graying hair; they look like twins. Frank's pretty much a jerk.
A tell-tale sign, missing finger tips, implicates Mark as an imposter like so many nails in a coffin. Another flashback, after there escape from the POW camp. The three guys are creeping along a riverbank; haltingly, Mark describes the scene...the prosecutor says "what about Wellney!" Mark can't remember. He then says that he'd forgot all about Margaret too. At least until after the war. During an adjournment, his attorney discusses strategy.
Gerald takes the stand. His tidbit: Mark has a scar from a childhood accident. But Mark doesn't...now. That night, thinking aloud to Margaret, Mark discovers that the recurring memory is of his reflection; "suppose it's true!" that he's really Frank? From Jeff we get his recall of the POW camp scene just realized by Mark. It seems that Frank had quizzed Mark about details of his earlier life, as though he were outline of a cunning plan. Frank actually mimicked Mark. He taunted that it would be easy to impersonate the wealthy man.
The implication is that Frank killed Mark, then assumed his identity. Now back to the escape part of the flashback; the Germans were able to shoot one of them. Jeff is certain that it was Mark. If the Germans had shot Mark, then Frank couldn't have murdered him. Still, the deception (Frank posing as Mark) could've happened. Margaret thinks Jeff should admit that he's wrong about the whole case. Weirdly, it seems he has a thing for her; or, at least, an interest. "Mark has forgotten so many things" she realizes, but it doesn't add up to much.
It's the difference between Mark not remembering enough about himself because he's really Frank, or, equally possible, that Mark, afflicted with PTSD, just has lost a lot of memory. A German doctor who'd treated a gravely injured British soldier at the end of the war. The body recovered, bit not the mind. He was unidentifiable, and still in a German hospital. "Number 15" appears in court. The man is horribly disfigured, mute. But he stares knowingly at Mark. Is the poor wretch the 'real' Mark? Let's call Margaret to the stand.
Is she certain that her husband is indeed Mark? No? What?! She saw that "Number 15" and Mark recognized each other. Good point. But she doesn't recognize "Number 15." Not s happy house that Mark returns to. He implodes with her, that despite his deception, isn't he, nonetheless, the man she loved and married. Yes, but no. She observed that his PTSD was due to what he did to Mark. He put his jacket on Number 15. Hmm. Flashback time once again. It seems that the reflection that had spooked mark had been Frank's; his would-be imposter snuck up on him with a weapon.
So Mark got the weapon away from him; and attacked him with it, thus turning him into the infamous Number 15. Like Margaret, the appearance of that guy triggered something with Mark. He recovered his memory instantly. "My reflection (in the nightmare) became his." That is, guilty conscience working his mind remembered his reflection instead of Frank's. Jeff admits tha, indeed, Mark is Mark. Well, Mark wins his case, and his identity.
I can't see the point of Jeff attacking Mark in the first place. Unless, Jeff didn't realize he was wrong until the cadaverous Number 15 made his entrance. More likely, Mark seeking and finding the bitty medallion Margaret had given him just before he went off to war is indisputable evidence that Mark's correct. The end.
Pretty good stuff. In fact, there's really two mysteries here: who is Mark? And, did either Mark or Frank kill the other? It gets a bit confusing, but that's ok. Because it gets more interesting too. Mark almost killed Frank, and nominee took on Mark's identity. The introduction of Number 15 gives the story a huge boost. He's almost a Frankenstein's monster; and not just in appearance. Mark sort of created him out of Frank. Ironically, despite Mark's sense of guilt, it was Frank who attacked him; Mark acted in self defense. But he didn't need to nearly kill him. Thus Mark's PTSD.
The first part of the movie is more melodramatic than involving. Once the courtroom scenes start, interest builds towards the end. Given the nuanced performances from Wattis, Morley, and Hyde-White, there's a much-needed injection of lively dialogue and dramatic personalities. Bogarde does quite a job playing no less than three characters; deHavilland doesn't have much to do, though. Massie's role is a little hard to figure. He seems obsessed with exposing 'Mark,' then quickly caves in based on a single but of evidence.
If it's such a crucial thing, why didn't he ask Mark about the medallion before? The larger issue (which has been mentioned by IMDb reviewers, among others) is the nature of identification itself, which never comes up in the movie. Even if soldiers are really mangled, even the enemy can identify them. That's the purpose of dog-tags. If this had been set in the 29th century or before, then the premise would be implausible.
In WWII, not so much. Nonetheless, Libel is an entertaining mystery, with plenty of possibilities, and a surprise witness seemingly from beyond the grave.
Jeffrey is perturbed to see Frank masquerading as Mark; at least he thinks that's what's going on. As a result, Frank sues Jeffrey for libel. Then we get the opposing attorneys Sir Wilfred (Robert Morley) and Hubert Foxley (Wilfrid Hyde-White), and the judge (Richard Wattis). This is a courtroom drama, but has wartime flashbacks. Mark isn't exactly convincing; he's shell-shocked (PTSD we say these days). There's quite a bit of evidence to call his identity questionable. Will we see opposing counsel pull rabbits out of their hats?
So, we begin with a night-time London street scene, and a soldier, Jeffrey, walking about. He goes into a pub; on tv, there's a show featuring the Loddon family. Jeffrey's fixated on the program, so he talks a girl into inviting him over to watch the rest of it. The documentary-like show follows Mark's family history, plus how own. We learn that after the war he'd been hospitalized for a time. Anyway, he can't remember who was at a birthday dinner from before the war.
Jeffrey is boiling up at all the pleasant banter of the program. Now we see the Loddon's point of view. Mark is upset that he can't remember stuff, but his wife smooths things over. Strangely, he looks elderly and with out, especially compared to Jeffrey. Later, he screams at after playing a certain time on the piano. Clearly, he's in a state; a recurring nightmare (or delusion?). Wow, does he have a swanky mansion; while Jeffrey joins a tour of the place, Mark goes riding.
Jeffrey stays on to confront Mark. A strange reunion--Mark's cheery, Jeff's suspicious, calling him Frank. "I know what happened to Mark. I'm going to make you pay for this!" He's not after blackmail. Soon he's looking up Mark's cousin, Gerald (Anthony Dawson). Jeff tells Gerald that Mark "didn't come back from the war." Gerald says that Mark's changed, but doesn't believe he's not literally the same person. He suggests contacting a tabloid paper for an expose: soon they're running this story-- "Bogus Baronet."
Apparently, the gossip mill is up and running; why? By now, Mark accused Margaret of doubting him. Back at Gerald's work place, Jeff reveals that Mark's sued him for libel. Gerald gives him some bit of evidence. Clearly, Gerald stands to gain if his cousin is shown to be an imposter. So far, things are tumbling along with a sort of contrived inevitability; if it's do obvious that Mark is really Frank, why had it taken so long to notice (from 1945 to 1959)?
Is there anything that Mark hasn't told Margaret? He doesn't think so. To court. Mark takes the stand. He admits that his memory is "unreliable" and "disjointed." Nonetheless, he gives some tiny details of pre-war experiences. Frank's name comes up. The attorneys' antics and comments have dome assiduous withering bite. A wartime letter from Mark reveals that Frank looks remarkably like him. A flashback shows both of them (by some cinematic magic) in the prison camp. One's got graying hair; they look like twins. Frank's pretty much a jerk.
A tell-tale sign, missing finger tips, implicates Mark as an imposter like so many nails in a coffin. Another flashback, after there escape from the POW camp. The three guys are creeping along a riverbank; haltingly, Mark describes the scene...the prosecutor says "what about Wellney!" Mark can't remember. He then says that he'd forgot all about Margaret too. At least until after the war. During an adjournment, his attorney discusses strategy.
Gerald takes the stand. His tidbit: Mark has a scar from a childhood accident. But Mark doesn't...now. That night, thinking aloud to Margaret, Mark discovers that the recurring memory is of his reflection; "suppose it's true!" that he's really Frank? From Jeff we get his recall of the POW camp scene just realized by Mark. It seems that Frank had quizzed Mark about details of his earlier life, as though he were outline of a cunning plan. Frank actually mimicked Mark. He taunted that it would be easy to impersonate the wealthy man.
The implication is that Frank killed Mark, then assumed his identity. Now back to the escape part of the flashback; the Germans were able to shoot one of them. Jeff is certain that it was Mark. If the Germans had shot Mark, then Frank couldn't have murdered him. Still, the deception (Frank posing as Mark) could've happened. Margaret thinks Jeff should admit that he's wrong about the whole case. Weirdly, it seems he has a thing for her; or, at least, an interest. "Mark has forgotten so many things" she realizes, but it doesn't add up to much.
It's the difference between Mark not remembering enough about himself because he's really Frank, or, equally possible, that Mark, afflicted with PTSD, just has lost a lot of memory. A German doctor who'd treated a gravely injured British soldier at the end of the war. The body recovered, bit not the mind. He was unidentifiable, and still in a German hospital. "Number 15" appears in court. The man is horribly disfigured, mute. But he stares knowingly at Mark. Is the poor wretch the 'real' Mark? Let's call Margaret to the stand.
Is she certain that her husband is indeed Mark? No? What?! She saw that "Number 15" and Mark recognized each other. Good point. But she doesn't recognize "Number 15." Not s happy house that Mark returns to. He implodes with her, that despite his deception, isn't he, nonetheless, the man she loved and married. Yes, but no. She observed that his PTSD was due to what he did to Mark. He put his jacket on Number 15. Hmm. Flashback time once again. It seems that the reflection that had spooked mark had been Frank's; his would-be imposter snuck up on him with a weapon.
So Mark got the weapon away from him; and attacked him with it, thus turning him into the infamous Number 15. Like Margaret, the appearance of that guy triggered something with Mark. He recovered his memory instantly. "My reflection (in the nightmare) became his." That is, guilty conscience working his mind remembered his reflection instead of Frank's. Jeff admits tha, indeed, Mark is Mark. Well, Mark wins his case, and his identity.
I can't see the point of Jeff attacking Mark in the first place. Unless, Jeff didn't realize he was wrong until the cadaverous Number 15 made his entrance. More likely, Mark seeking and finding the bitty medallion Margaret had given him just before he went off to war is indisputable evidence that Mark's correct. The end.
Pretty good stuff. In fact, there's really two mysteries here: who is Mark? And, did either Mark or Frank kill the other? It gets a bit confusing, but that's ok. Because it gets more interesting too. Mark almost killed Frank, and nominee took on Mark's identity. The introduction of Number 15 gives the story a huge boost. He's almost a Frankenstein's monster; and not just in appearance. Mark sort of created him out of Frank. Ironically, despite Mark's sense of guilt, it was Frank who attacked him; Mark acted in self defense. But he didn't need to nearly kill him. Thus Mark's PTSD.
The first part of the movie is more melodramatic than involving. Once the courtroom scenes start, interest builds towards the end. Given the nuanced performances from Wattis, Morley, and Hyde-White, there's a much-needed injection of lively dialogue and dramatic personalities. Bogarde does quite a job playing no less than three characters; deHavilland doesn't have much to do, though. Massie's role is a little hard to figure. He seems obsessed with exposing 'Mark,' then quickly caves in based on a single but of evidence.
If it's such a crucial thing, why didn't he ask Mark about the medallion before? The larger issue (which has been mentioned by IMDb reviewers, among others) is the nature of identification itself, which never comes up in the movie. Even if soldiers are really mangled, even the enemy can identify them. That's the purpose of dog-tags. If this had been set in the 29th century or before, then the premise would be implausible.
In WWII, not so much. Nonetheless, Libel is an entertaining mystery, with plenty of possibilities, and a surprise witness seemingly from beyond the grave.