Victim: John Coldstream's New Book about the Landmark 1961 Film

The latest book in the British Film Institute's BFI Film and TV Classics series is Victim, a 115-page paperback reference volume devoted to the controversial 1961 film starring Dirk Bogarde. Author John Coldstream discusses the film's production history, describes the film in depth, and addresses critical reaction when it was first released. Coldstream concludes with a short essay about Victim's significance in cinema history.

For those unfamiliar with Victim (plot spoilers ahead), it tells the story of Melville Farr (Bogarde), a successful, married London barrister who was "seeing" Jack Barrett, a young homosexual man. In the film's most potent scene, Farr tells his wife that he never engaged in a physical relationship with Barrett, but he eventually admits: "I stopped seeing him because I wanted him. Do you understand?" A photograph of Farr consoling a crying Barrett falls into the hands of blackmailers, who threaten to ruin Farr's life (a homosexual relationship between two men was still a criminal act in England in 1961). When Barrett commits suicide to protect Farr, the barrister sets out to expose the blackmail ring.

In his book, Coldstream provides a compelling history of the many obstacles that had to be overcome to bring Boy Barrett, as Victim was known in pre-production, to the screen. Coldstream notes that the financial and critical success of Sapphire (1959), a mystery with strong racial themes, paved the way for Victim. In fact, Victim reunited the writer (Janet Green), director (Basil Dearden), and producer (Michael Relph) from Sapphire. Yet, despite their pedigree, they faced an uphill battle in getting Victim through the censors. Coldstream writes that John Trevelyan, head of the British Board of Censors and considered a moderate, "warned Relph to be aware of present-day public opinion in balancing attitudes toward homosexuality and not to give ideas to potential blackmailers by having the detective say it 'offered unrivaled opportunities to any extortionist.'"

Alas, Coldstream's lengthy description of the film is not as interesting for anyone who has seen it. He includes key lines of dialogue, a plethora of outstanding stills, and portions of the annotated script.

The author's discussion of Victim's critical reception and historical significance is much more engrossing. Coldstream plays fair by presenting a diverse number of critical opinions about Victim. One of the more interesting ones came from James Breen of The Observer: "With a few plot changes (none of them vital), the film could have been made at any time during the last fifteen years --for it is not primarily about homosexuality at all, but about blackmail, and it is shaped not as a social study, either compassionate or critical, but as a mild thriller." For this film buff, I would certainly never label Victim a "mild thriller", but Breen may have have a point in regard to the importance of the blackmail angle.

As with any reference book dedicated to a single movie, Victim has limited appeal. Still, John Coldstream has written a well-researched history of the film, especially in regard to censorship in Britain in the early 1960s. Victim is recommended for the film's admirers and for libraries with large film reference collections.


Palgrave Macmillan provided a review copy of this book.

My 100 Favorite Films: From 80 to 71

In this third installment, you may start to wonder about my tastes in film! Keep in mind that these are my favorite movies--not a "best of" list. So, it was inevitable that some guilty pleasures would find their way into this project. (As always, an underlined title means there's a hyperlink to a full review at the Cafe.)

A colorful poster...but
no hint of the plot!

80. You Never Can Tell - A German Shepard named King inherits a fortune following his eccentric owner's death--but then is swiftly murdered. The canine angel asks if he can return to Earth long enough to catch his killer and clear the innocent woman accused of the crime. King is sent back to Earth as a "humanimal"--an animal reincarnated as human—in this case, a private eye named Rex Shepard (Dick Powell). This amusing fantasy was a childhood fave and still holds up well, thanks to a wonderfully inventive premise and a marvelous Powell performance. I can't imagine another human playing a dog playing a human!

79. Advise and Consent - The President (Franchot Tone) clashes with the Senate and his own party on his nomination of a liberal academic (Henry Fonda) to become Secretary of State. His unyielding stance sets into motion a political chess match in which Senators take sides and people become pawns. (The chess analogy is an interesting one: Walter Pidgeon, who fights for nominee Fonda, wears a dark suit; Charles Laughton, who opposes him, wears white). This absorbing look inside Washington politics was made in 1962, but always feels timely--and the entire cast is first-rate.

Jason Robards as Cable Hogue.

78. The Ballad of Cable Hogue - My favorite Sam Peckinpah film is a wistful tale of fate, redemption, and the dying days of the Old West (a recurring Peckinpah theme). Jason Robards, Jr. plays the title character, a drifter left for dead in the desert by his low-life partners. Just when death seems imminent, Hogue finds a spring—a source of water surrounded by an ocean of sand—and this discovery changes his life. Robards is superb and gets outstanding support from David Warner as a would-be man of the church and Stella Stevens as a prostitute (easily her best role ever). However, it's the spirit of the main character that lingers long after the bittersweet ending.

Bond and Flynn as rivals-turned-friends.

77. Gentleman Jim - I'm not sure why this tremendously entertaining biography of boxing legend Jim Corbett has never taken its place as one of Warner Bros.' best films of the 1940s. Errol Flynn, often underrated as an actor, is in fine form as Corbett and he's surrounded by a bunch of veteran scene stealers in Alan Hale, Jack Carson, and William Frawley. Alexis Smith provides a feisty love interest and Ward Bond gives one of his best performances as boxing rival John L. Sullivan. Best of all, though, director Raoul Welsh creates a flavorful portrait of America just prior to the turn of the century. Funny, exciting, and ultimately heartfelt, Gentleman Jim is a classic that deserves more attention.

76. Seven Days in May - John Frankenheimer followed his classic The Manchurian Candidate (1962) with this equally original political thriller. Rod Serling’s taut screenplay interweaves the stories of three men: President Jordan Lyman (Fredric March), whose popularity has plunged as a result of pushing for a nuclear arms treaty with Russia; General James Mattoon Scott (Burt Lancaster), the influential, egotistical head of the Joint Chiefs of Staff; and Marine Colonel “Jiggs” Casey (Kirk Douglas), a key member of Scott’s staff. Part mystery, part suspense film, Seven Days in May unfolds its audacious plot carefully; it's a rare motion picture in which the outcome is always in doubt until the climax. That uncertainty is a testament to Frankensheimer’s craftsmanship as a filmmaker.

75. The Power – Shortly after absent-minded Professor Henry Hallson (Arthur O'Connell) reveals that one of his colleagues at a research center for human endurance has “an intelligence quotient beyond the known limits of measurability,” he is found murdered. When fellow scientist Jim Tanner (George Hamilton) starts investigating, he is not only framed—but finds himself the target of a diabolical “super intellect” that can alter people's perceptions of reality. While I recognize that The Power is a film of many flaws (starting with Hamilton’s bland hero), I always enjoy it immensely thanks to its ingenious premise, Miklós Rózsa’s unique score, and a delightfully wacky twist ending. And while I don’t know many people who proclaim to be fans, I can take solace in the words of film critic John Baxter who hailed The Power as “one of the finest of all science fiction films.”

74. Gargoyles – A delirious guilty pleasure, this 1972 film stars Cornel Wilde as an anthropologist battling the title creatures in a small southwestern desert town. A rare network TV-movie excursion into visual horror, Gargoyles opens with a prologue that explains the ancient creatures are reborn every 600 years to “battle against man to gain dominion of the Earth.” Bernie Casey gives an intelligent performance as the head gargoyle, exuding menace and generating a surprising amount of sexual tension for a network TV movie of the era. The Emmy-winning Stan Winston make-up is marvelous, complete with wings, horns, a pointy chin, white eyes, and vampiric fangs. And yet, I’m hard-pressed to explain my continuing affection for this film…perhaps it evokes a certain amount of nostalgia for the many made-for-TV movies I watched as a teen in the early 1970s.

Sir Wilfrid cross-examines a witness.

73. Witness for the Prosecution - Charles Laughton stars as Sir Wilfrid Robarts, a famed London barrister recuperating from a heart attack. Though under strict orders to avoid stressful criminal cases, his pursuit of a forbidden cigar results in accepting a case involving a penniless opportunist (Tyrone Power) accused murdering a middle-aged wealthy widow. One of the finest Hitchcock films not made by Hitchcock, Witness is a clever, witty courtroom drama (courtesy of Agatha Christie and Billy Wilder). However, the film's most entertaining aspect is its unexpected humor--much it of derived from the relationship between the cantankerous Sir Wilfrid and his fastidious nurse, Miss Plimsoll (Elsa Lanchester, Laughton’s real-life spouse).

72. Victim – When I first saw 1961’s Victim, I had no idea what it was about. The film unfolds as an engrossing mystery involving blackmail, suicide, and an affluent barrister played by Dirk Bogarde. For the sake of those unfamiliar with this landmark movie, I won’t divulge any more of its plot. At a future date, though, I’ll do an in-depth review and address why it’s one of those rare films that seamlessly integrates a well-told story and social commentary. Bogarde shines in the lead role, though Sylvia Sims manages to upstage him in their potent scenes together near the climax.

71. The Winslow Boy – When a boy is expelled from a British naval academy for theft, his father has only one question: Did he do it? When the son proclaims his innocence, the father sets out to right the wrong—even it means taking on the House of Commons. The compelling story, sharply-etched characters, and sparkling dialogue can all be attributed to Terence Rattigan’s brilliant stage play. Still, this film adaptation stands on its own, anchored by a sensational cast. Robert Donat—who appears well into the proceedings—has the showy role as the son’s barrister and delivers his two big scenes with maximum impact. However, my favorite performances come from Cedric Hardwicke as the never-wavering father and Margaret Leighton as the feminist daughter. Her closing scene with Donat concludes the film on a perfect note.

Next month, I'll count down 70-61, which will include another Flynn film, the first of multiple Sidney Poitier appearances, a Renoir classic, and a Cornel Wilde cult film!