Tag Archives: Encore

Quartet | Maugham adaptations

When I was in undergrad, I discovered the existence of Secret Agent. I was on a thirties Hitchcock kick and a Maugham kick. The idea of a Hitchcock Maugham adaptation? Should be something. At the time–sixteen years ago–Secret Agent was a major disappointment. I’ve still got an interest in Maugham adaptations, but I don’t expect much.

I worked up the Stop Button’s Quartets theme based a Google-facilitated discovery of a “Quartet film series.” Calling it a film series is a bit of a stretch–starting in 1948, Antony Darnborough produced three W. Somerset Maugham “anthology” films. Quartet, Trio, and Encore. I had a slight awareness of Quartet and Trio existing; I knew they were British, black and white, possibly acclaimed at the time of their release. I didn’t know they were anthologies of Maugham short stories.

Quartet has four stories, Trio and Encore both have three. Maugham introduced each of the stories; title card, with director credited; the same unseen, uncredited narrator (in all three pictures) starts reading the source short story.

The films were well-received, both by audience and critic. Though original production company Gainsborough Pictures only hung around for the first “sequel,” Trio, with another company–Two Cities Films–doing the second, Encore. It’s a shame Two Cities Films didn’t do all three, as Encore is easily the best of the bunch. It also has better screenwriters.

In none of the three films is it clear if “host” W. Somerset Maugham has actually seen the film segments. He doesn’t come off well. He’s awkward and disinterested in the film medium. The introductions range from pointless to discouraging.

George Cole and Susan Shaw star in “The Kite,” from Quartet

Quartet has four directors–Ralph Smart, Harold French, Arthur Crabtree, and Ken Annakin–and one screenwriter, R.C. Sherriff. The stories involve, respectively, a Continental seductress exploiting a young British man, a rich kid who just wants to play the piano, a man whose new bride doesn’t like his kite enthusiasm, and a retired army man who discovers his wife writes explicit poetry.

Quartet (1948). ★½
Quartet (1948). ★½. 2017 review

At least two of the stories–first and third–have a framing device, which might work fine in prose, but just needlessly crowds the segments with characters here. Three of the four directors amble clumsily through their segments, doing nothing for Quartet as a visual narrative and even less for their actors. Annakin, in the last segment, finally shows something more than rote competence–it’s almost enough to turn the film around, or at least bring it above water.

Nora Swinburne and Cecil Parker star in “The Colonel’s Lady,” from Quartet

It’s not, of course, because there’s only so much one part of an anthology picture can do to make up for the rest of it, but Annakin’s effort is a good one. The other three just make it seem like Maugham stories shouldn’t be adapted into short films.

Jean Simmons and Raymond Huntley star in “Sanatorium,” from Trio

The first sequel, Trio, reduces the story adaptations by one. Three stories, not four. Ninety minutes, not two hours. Unfortunately, the adaptations don’t get equal time. The first two stories, directed by Ken Annakin, are gentle comedies. The third story, directed by Harold French, is a lengthy melodrama better suited for feature-length expansion, not being forced into an anthology.

Trio (1950). ★★. 2017 review

The stories in Trio are about a fired church verger’s small business success, an annoying cruise liner passenger, and life in a tuberculosis sanatorium.

The screenplay this time comes from Maugham (himself), R.C. Sheriff, and Noel Langley. Oddly, even though Maugham has more involvement, his introductions to each of the stories gets cut. All three times, the music and narration come up before Maugham has finished talking about these stories’ adaptations, which again it seems like he definitely hasn’t seen.

Nigel Patrick, Anne Crawford, and Naunton Wayne star in “Mr. Know-All,” from Trio

There’s a lot of good acting in Trio and a lot of good direction (from Annakin mostly). But the film lacks any bite–the relative cuteness of the first two segments don’t soothe the third’s hopeless melodrama, it just plunges Trio further into blandness.

Glynis Johns and Terence Morgan star in “Gigolo and Gigolette,” from Encore

Then, shockingly, after two disappointing entries, the Quartet series ends on a high point with Encore. It’s from a different production company, Two Cities Films, it’s got an entirely different set of screenwriters–T.E.B. Clarke, Arthur Macrae, and Eric Ambler–and it’s got two new directors for a couple of the segments, Pat Jackson and Anthony Pelissier. Harold French is back again to direct the last story.

Encore (1951). ★★★. 2017 review

Encore’s got the best scripts too. Best scripts and best concepts. The first story is about a lazy brother exploiting a successful one, the second is another cruise liner story (and Encore’s weak spot), with the finale being a high dive performer’s martial troubles.

Nigel Patrick and Roland Culver star in “The Ant and the Grasshopper,” from Encore

Lots of great acting, lots of good direction. Even French, who previously had problems with his direction, comes through on his entry. Encore just has a better feel to it, mostly thanks to the screenwriters, but also the directors. It doesn’t feel constrained like the previous two.

So three movies in the Quartet film series, three posts for The Stop Button. Only Quartets is a monthly scheduling theme, posted every Friday, meaning I needed one more title. And I’ve been wanting to see The Moon and Sixpence for a long, long time. George Sanders in a Maugham adaptation? What could be better.

George Sanders stars in The Moon and Sixpence

Sadly, many things could be better. The Moon and Sixpence is underwritten–by its director, Albert Lewin–which leaves Sanders and lead Herbert Marshall (playing a Maugham analogue, something Marshall would do more directly in The Razor’s Edge a few years later) with very little to do. The parts are just too thin; Marshall and Sanders can imply all the depth they want, but if Lewin isn’t going to acknowledge it, it doesn’t do any good.

The Moon and Sixpence (1942) .★½. 2017 review

Moon and Sixpence isn’t an easy novel to adapt–it’s a period piece, there are multiple locations in multiple countries, it would do well with a big budget. And Lewin doesn’t have one. There’s an even more fundamental issue. The source novel is loosely based on real-life painter Gauguin and Marshall’s Maugham analogue is the guy who wrote that novel. There are literary things at play, along with some grown-up, Hayes Code unfriendly content; Lewin tries to be faithful but he’s too obtuse. There’s nothing to bring it to a different medium, not even the simplest things. When Lewin finally does get around the showcasing what film can do, it’s way too late to do any good. It’d be more of a disappointment if Lewin ever exhibited any competency.

So another middling Maugham adaptation.

Elena Verdugo and George Sanders star in The Moon and Sixpence

As of 2017, there have been over a hundred Maugham adaptions to film and television–fifty-eight film adaptations during Maugham’s lifetime, two television series dedicated to adapting just his stories–and when a Maugham adaptation is good, it tends to be real good. It’s unfortunate the Quartet series didn’t work out better. It’s unfortunate The Moon and Sixpence didn’t pan out. But they were a fine kick-off to the Stop Button’s Quartets scheduling theme.

At least I got middling Maugham movies done early.

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Encore (1951, Pat Jackson, Anthony Pelissier, and Harold French)

With the exception of some overly confident rear screen projection and a problematic middle story, Encore is an almost entirely successful anthology of three W. Somerset Maugham stories. Each story has a different director and screenwriter; otherwise the crew is the same.

Maugham introduces each story, usually saying something to mildly detract from it–he emphasizes the stories being fictionalizations of real life, which seems a tad pointless, but it’s better than when he assails one of his characters. More on that one in a bit.

The first story is an extremely dry comedy, with loafing Nigel Patrick trying to get money out of his successful older brother, played by Roland Culver. Pat Jackson directs it, T.E.B. Clarke does the script for it. Both Patrick and Culver are fantastic–Patrick’s solution to Culver not lending him money is to take menial jobs in Culver’s social circle to humiliate him. So for a while the segment is just Patrick being a perfect bastard and Culver getting more and more frustrated. The jobs are always funny–and always involve Culver’s bewildered client, Charles Victor–before it takes a very fun turn at the end.

Clarke’s script is fast and funny, Jackson’s direction is the same. Jackson lets Patrick walk off with scenes (usually over Culver–but not always) to great effect.

From that very high start, Encore immediately gets in to trouble with the second segment. It starts before the segment itself, with Maugham complaining about a woman he once didn’t like. It’s appropriate, dire forecasting.

Directed by Anthony Pelissier and written by Arthur Macrae, the second segment is about annoying cruise ship passenger Kay Walsh. No one can stand her. She’s talkative and friendly, which is obnoxious to captain Noel Purcell and ship’s doctor Ronald Squire. Lots of the complaints have to do with Walsh being a woman, which seems like lazy writing on someone’s part (Macrae’s or Maugham’s), and it reduces every character in the segment to a caricature. At the end, it turns out the caricatures were intentional so there could be a last minute reveal.

Despite the characters being astoundingly thin, the performances are all generally fine. Once she gets to do, Walsh is quite good (good enough someone should’ve rethought the adaptation of the story, as it’s no good for film). Pelissier’s direction, albeit peppered with stock footage of the ocean, the Bahamas, and so on, is quite good. He’s directing for the actors, shame the script isn’t there for them.

The final segment starts with yet another troubling introduction from Maugham. It’s going to be about dangerous stunt performers, he says, who he wishes would just do something safer.

Glynis Johns (top-billed for the whole picture) is a high diver. She dives eighty feet into five feet of water, which is covered in flames. She does it twice a night for rich diners at a Riviera resort. Husband Terence Morgan is her announcer and manager. Johns is getting sick of the life, while Morgan is negotiating longer and longer, and more and more lucrative, contracts for her. When they meet retired daredevil Mary Merrall (and her husband, Martin Miller), Johns’s crises become more immediate.

Harold French directs this segment, from a script by Eric Ambler. It’s the biggest segment–though there’s still some questionable rear screen projection on the Riveria, there’s a physical eighty-foot diving platform and a lot of sets. There’s the restaurant, there’s a casino, it’s a lot more open than either of the preceding segments. It’s not about the sets or the stunts, however, it’s all about Johns and her growing fear. About Morgan and his working class dreams. Of the three, it embraces its sentimentality the most and is the most ambitious. French and Ambler don’t have a last minute reveal or some really funny situational comedy to fall back on. They just have the actors. And the actors succeed.

Excellent performances–from Patrick, Culver, Walsh, Johns, Morgan, and Merrall–excellent direction, solid production values (excepting the problematic rear screen, of course) result in an entirely satisfactory, rather successful film.

3/4★★★

CREDITS

Directed by Pat Jackson, Anthony Pelissier, and Harold French; screenplay by T.E.B. Clarke, Arthur Macrae, and Eric Ambler, based on stories by W. Somerset Maugham; director of photography, Desmond Dickinson; edited by Alfred Roome; music by Richard Addinsell; produced by Antony Darnborough; released by General Film Distributors.

Starring Nigel Patrick (Tom Ramsay), Roland Culver (George Ramsay), Charles Victor (Mr. Bateman), Peter Graves (Philip Cronshaw), Kay Walsh (Miss Molly Reid), Noel Purcell (Captain), Ronald Squire (Doctor), Jacques François (Pierre), John Horsley (Joe, Mate), Glynis Johns (Stella Cotman), Terence Morgan (Syd Cotman), Mary Merrall (Flora Penezzi), and Martin Miller (Carlo Penezzi).


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