L'incidente

I can't agree with one reviewer here who states that "Accident" is the best of the Losey-Pinter collaborations. I much prefer "The Servant." "Accident" is about just that -- the film begins with a dreadful car crash and Stephen (Dirk Bogarde), an Oxford don, coming to the site and rescuing the young woman, Anna (Jacqueline Sussard) and taking her back to his house. The other occupant is dead.

The story unfolds from there, going back to what led up to this event. Stephen is going through a midlife crisis. He has two children, a pregnant wife, and not quite the success of his friend Charley (Stanley Baker) who has a television show. Stephen finds himself attracted to one of the students he tutors, Anna, but can't quite muster up the courage to approach her. Another student, William (Michael York) is a friend of hers; Stephen can't quite figure out the relationship, even after a night of boozing it up a la Virginia Woolf. Then he finds out something very interesting.

This has to be one of the slowest-moving films on record, filled with those famous Pinter pauses and emotions underneath the surface. And here, they're really underneath. Buried. John Coldstream quotes Michael York in "Dirk Bogarde" about being told "you can't underact," that film is so subtle a medium, the less you do, the better it is. Well, in "Accident," that's been taken to a new art form. York was impressed that while doing the scenes, it didn't come off like they were doing anything until you saw it on film. I don't know what film he saw.

The other problem with this film, and maybe it was just me going into an advanced stage of blindness, which I wasn't aware of, is that the night shots were black. I really couldn't see what was going on.

That all being said, the basic story is certainly a compelling one, of people leading normal, outwardly successful lives, with turgid emotions and unhappiness churning underneath. The scenes after the accident between Sussard and Bogarde are very striking and disturbing, as is the final moment of the film. We are reminded that what's on the surface has nothing to do with what really is in the heart.

"Accident" was a terrible emotional drain on Dirk Bogarde; unfortunately, because of the direction, we don't get to see why. He was a remarkable actor, but like any actor, he's a victim of the director's pacing and concept, not to mention the script he's handed. This could have been much better, right up there with the searing drama of "The Servant." Alas, it isn't.

Joseph Losey was a talented director and in ACCIDENT (UK 1967) he was at the top of his game. Born in the US and forced to move to the UK because of Senator McCarthy's persecution of communists in Hollywood, Losey managed to acquire a very insightful perception of life in England, its class distinctions, and the looseness of such supposedly firm commitments as marriage, job, and friendship.

I cannot recall a single weak performance in any Dirk Bogarde's films, and in ACCIDENT he is as solid and intuitive as ever, his eyes alone conveying myriad feelings, sometimes contradictory ones. In his role as university lecturer, he is ably seconded by the gifted Vivien Merchant, as his wife. The reliable Stanley Baker, who plays a multi-skilled and more successful fellow lecturer, mirrors Bogarde's own life, to the point of having three children, too, and engaging in affairs with students - in this case with Anna, played by the beautiful Julie Sassard. The difference is that Baker is far more egotistical than Bogarde - but both men are vulnerable to temptation and have selfish moments.

Michael York and Sassard play the aristocrats in the film, and you can tell immediately that that sets them apart and, regardless of sexual ties, they will always remain separate from the rest of society. Contact with commoners is as inevitable as it is accidental - and it can be fatal.

Thought-provoking script and film, beautifully shot, leaves you wondering whether the accident at the end claimed the family dog. Well worth watching, if you are an introspective mood.

Not a lot happens, but we were glued to The Accident. The script is wonderfully understated. Pinter as screenplay writer is a different style from Pinter the playwright. Pinter teases us, though, with a small cameo performance of his own using almost mock-Pinter dialogue for that one short scene. Also of note script-wise is the scene soon after Pinter's scene when Dirk Bogarde visits his old flame in London and the dialogue is almost thoughts, almost dialogue - you don't see either of them actually speaking.

The cinematography on this movie is superb. Oxford in the summer is a soft target for beautiful shots, but this film fills its boots with that beauty. Yet the dark mood never leaves you despite the beauty - partly because 90% of the movie is a flashback, so you have already seen most of the tragedy unfold. Also, the behaviour of the two professors is just so awful. Dirk Bogarde comes across somewhat sympathetically because he is Dirk Bogarde, but the character is a more or less unmitigated toad. The Stanley Baker character is also horrible. The acting of all the main characters is superb.

This is high class stuff - seek it out.

***User-reviewer st-shot ("Accident keeps its distance", st-shot from United States, 11 April 2011) has a well-written commentary. So does Slime-3 ("Tense, measured actors piece which now shows it age", Slime-3 from Gloucester, England, 13 November 2012).***

"The Accident (1967, Joseph Losey)", a sexual foursome, is challenging but rewarding. It is written by Nicholas Mosley, adapted by Harold Pinter and directed by Joseph Losey. This third Losey-Pinter collaboration has a smoldering intensity even though there are many scenes concerning the everyday details of a comfortable University of Oxford society. "Accident" is intensely visual and austere. Casual film-goers are not its intended audience. Still, it has great emotional depth and is memorable.

It starts with a fatal car crash in the UK countryside. Stephen (Dick Bogarde), an Oxford professor of philosophy, rescues Anna (Jacqueline Sassard), an attractive young student, from the wrecked car. Stephen leaves behind the corpse of William (Michael York), whose frozen face becomes a recurring image. Flashbacks take us back to when Anna and William first become Stephen's pupils. Stephen is a repressed husband going through a middle-life crisis with a variety of frustrated ambitions. He has two kids, a wife Rosalind (Vivien Merchant) who is pregnant with a third, and the growing family resides in an elegant rural home. (Too bad philosophy professors are not as well compensated today.) As Stephen first meets and begins to tutor Anna, he is attracted to her but restrains from making a move. The chief instigator of most of the mischief that follows is another Oxford professor and TV personality Charley (Stanley Baker). Stephen and Charlie have an adversarial friendship which resembles a war, they are typically hostile to each other and openly competitive. Young William, an aristocrat, is athletic and vital. He never learns the Awful Truth about his new circle of friends.

"The Accident" seems to be portraying several pairs of dopplegangers, with the struggle between Stephen and Charley the featured one. Stephen is intensely jealous of Charlie but is stymied from catching up. Stephen mimics his rival by having his own extra-marital affair as well as attempting to appear on television. Rosalind and Anna are also two of a kind; they both facilitate Stephen's infidelity. (Rosalind's lack of concern to her husband over whether he is cheating seems dreamlike.) William, who is often in motion, has no human counterpart but sort of reminds us of the family dog, who we see fetch a ball once or twice. Stephen's two children have matching speech, etc.

Watching Stephen vs. Charley is mesmerizing. Dick Bogarde is an amazing actor. He reminds me of a less physical, more everyman-version of Marlon Brando. (Brando merged with Al Pacino?) There is often a primal quality with Bogarde's delivery that is stunning. Stanley Baker, who possessed a much-reviewed face (i.e., the consensus seems to be that he is as frightening as he is handsome), is another teapot that is always about to boil over. As with "The Servant (1963, Losey-Pinter)", there is a role reversal coming between two evenly matched, perpetually competing males.

The cinematography employs muted colors, contributing to a sense of gloom. Losey has a visual leitmotiv. He often frames points of interest between verticals and horizontals which reduce the effective frame size. When he does this we immediately recall William's deceased face, which is also restricted in the frame by the car wreckage. At the very minimum, Losey is doing this to remind us what is coming. By the way, I really love the sequence where Stephen has an affair with Francesca. The lovers are filmed silently with their conversation overdubbed. It creates a uniquely dreamlike experience.

This Losey and Pinter collaboration takes patience but will be enjoyed by cinemaphiles. However, please don't drive over to The revival theater showing this after having guzzled whiskey like a 1960s-era Oxford philosophy professor.

"Accident" was a somewhat ripe little novel by Nicholas Mosley about the sex lives of dons, (of the Oxbridge type rather than the Juan or Giovanni kind). It was a good book but hardly memorable. The film that Joseph Losey made of it, however, was a different kettle of rancid fish altogether. Harold Pinter wrote the script and it's a brilliant piece of work, as acerbic, as nasty and, by God, as intelligent as any of his celebrated theatre work and Losey's direction is pitch-perfect. Perhaps no writer and director were ever quite as in simpatico as Pinter and Losey. The film is told in flashback. It opens stunningly with the accident of the title that introduces us to three of the central characters; the driver of the car, the young woman with him and the don who finds them. The driver is a young Michael York, the girl is Jacqueline Sassard and the don is Dirk Bogarde, magnificent here in a performance as fine as his work in "The Servant" or "Death in Venice". The film then jumps back in time as we meet the other characters caught up in the sexual shenanigans; Stanley Baker as another don, raffish and full of bluster where Bogarde is introverted and ineffectual and Vivien Merchant as Bogarde's pregnant wife. They, too, are superb but then everyone, no matter how small their part, is superb; everyone is there for a reason. Primarily this is a film about sexual tension and unfulfilled desires, about petty jealousies and how all this sublimated sexual longing can lead to disaster. It is a film made up of long, virtuoso passages; a drunken Sunday lunch that turns into a drunken evening of recrimination and which brings all the main characters together, Bogarde's visit to an old flame, (Delphine Seyrig), a cricket match and, of course, the crash itself and it's aftermath which is, naturally, sexual. This is great film-making, quite rare in British cinema. Paradoxically the film is among the most English and, at the same time, among the least English of pictures. Superbly photographed, too, by Gerry Fisher and with another great Johnny Dankworth score this is a masterpiece.