THE BROWNING VERSION

New Zealand Listener, Volume 26, Issue 653, 11 January 1952, Page 18

THE BROWNING VERSION

(Rank-Anthony Asquith) TEND to be suspicious of screen translations of stage plays, even when Terence Rattigan has written both. On the other hand, in The Browning Version I expected something from the direction of Anthony Asquith and the acting of the better-known members of his team. In the event, just about everyone who counts has rung the bell. A classics master, Andrew CrockerHarris (Michael Redgrave), is spending the last two days of 18 years at a boys’ school which he is leaving because of ill-health. He is a grim-lipped man, suspicious even of well-meant laughter at his own jokes, contrasting with the popular, easy-going science master (Nigel Patrick), who, for some time, has had Mrs. Crocker-Harris (Jean Kent) as his mistress. It is easy at this stage to see why the one man would attract, the other repel, the still young, though bitter and suspicious wife. At first she wins some sympathy, but what little is left goes after the central crisis' when an understanding schoolboy, Taplow (played with considerable ability by Brian Smith), presents "The Crock" with a copy of the Browning version of The Agamemnon as a farewell gift. For while the master is still shaken by this unexpected kindness, she suggests that Taplow has given the book to buy his promotion. Crocker-Harris finally comes to believe otherwise, and begins his rehabilitation, in circumstances which I found a‘little less credible than the rest of the story. Perhaps he was, after all, a good judge of character. The real tragedy of this story is a double one. As Crocker-Harris himself says, he and his wife each wanted something from the other to make life sypportable, that neither was able to give. She was a woman of some passion, while the young Crocker-Harris whose enthusiasm had found outlet in a free verse translation of The Agamemnon, looked for something else in marriage. Each, had hardened in a different pattern, but his perhaps offered the greater hope of redemption. At any rate, there is no attempt to work out her problem. Losing both husband and lover, condemned «for her mental cruelty, she comes out of it badly. I confess that I felt sorry for her. I don’t find it hard to believe that Mr. Redgrave deserved his award as best actor of the year at the Cannes International Film Festival. The other principals also all do good work. I haven’t read The Browning Version, but I’m sure it was never like this on the stage. Watching through the camera’s eye (Desmond Dickinson in charge) we have some great moments of revelation which would not be possible in the theatre.