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This DVD release of “The Servant” “Accident” & “The Mind Benders” gets 5 stars here, simply because the three films are so well-presented (and the cost is so reasonable) . Extras are skimpy: novel trailers (it is quite informative to observe how such interesting films were marketed in the early 1960s) and sketchy notes on the artists (“Victim”, for example, in which Bogarde starred in 1961, is not included in his filmography) . The films are nicely divided into chapters, but there are no subtitles included.
The transfers are astounding. All three films are letter-boxed, so viewers can at last net a sense of Losey’s spend of status in his two. Only a Criterion articulate is likely to have surpassed these transfers. Particulary in the case of Losey, it might have been profitable to have included some sort of commentary by surviving participants or film scholars.
“The Servant” is a major film of the 1960s. Wonderfully spirited, it occupies the realm of social commentary/satire and as well as that of psychological thriller. This superbly acted drama has an uncanny atmosphere of pervasive strangeness. John Dankworth’s gain and the recurring utilize of his song ‘All Alone’ contribute greatly to the bizarre goings-on. The main performers have probably never been better: Bogarde, James Fox (in an impressive debut), Sarah Miles and Wendy Craig.
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“Accident”: called by some Losey’s masterpiece. Again, the noble transfer works wonders for the viewer’s involvement and appreciation. There is a subtle utilize of color in this film that is well served. It may be a small bit too self-consciously “arty” in its execution, but “Accident” contains very aesthetic work from Bogarde, Stanley Baker and Vivien Merchant. And this film has in well-liked with “The Servant” a queer, foreboding atmosphere.
“The Mind Benders” is probably the least artistically essential of this trio. Yet, for three quarters of its length, it’s a dumb, but very compelling hybrid of science-fiction and domestic drama. Bogarde is, again, at the peak of his build. But mention must be made of Mary Ure, luminous as his tormented wife. Only this film’s final moments let it down in a sentimental turn that a Losey probably would have avoided. This is not to disparage director Basil Dearden, whose direction of actors here is as genuine as anyone’s. There are several highly dramatic scenes and a suitable musical glean by Georges Auric, adding to the effectiveness of this record.
Compulsive viewing for Dirk Bogarde and British cinema of the 1960s.
This has to be one of the oddest DVD collections out there: *The Dirk Bogarde Collection*, three movies featuring one of the most novel and valiant actors in the history of film, Dirk Bogarde. Bogarde started as a British matinee idol, but as middle-age approached decided to retract some risks. The result was an impressive career consisting of masterpieces directed by the likes of Losey and Visconti. (The Visconti films, *The Damned* and *Death in Venice*, are absolute masterpieces that are not yet on DVD, for some tiresome reason.) This collection features two ample ones by Losey and another by Basil Dearden, all from the 1960′s. In chronological order and ascending importance:
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*The Mind Benders* (Three Stars) : Inessential but inspiring portion of Frosty War hysteria, in which Bogarde is a scientist / professor at Oxford who has been fooling around with sensory-deprivation experiments. The experiments involve submerging a person in a tank of water: given scuba gear and suspended by cables so that he can’t sink or rise to the surface, the person evidently goes rather insane after a few short hours. It seems ridiculous until you remember the opening title-cards, which assert us that the notion for the anecdote is based on Trusty experiments performed at colleges in the US. Hey . . . the Commies WERE coming, you know.
*The Servant* (Four Stars) : The first of the Joseph Losey / Harold Pinter / Dirk Bogarde collaborations in this place (director, writer, and star, respectively) . The times were a-changin’, all right: James Fox, in his first camouflage role, is a playboy who has inherited millions from his family and thinks he can live like a Gentleman of Yore in the Sixties . . . but he picked the contaminated decade to attempt it. (Hell, he picked the irascible century.) Of course a Gentleman must have a Manservant, so he hires Dirk Bogarde to natty up his novel mansion and cook his meals. Bogarde is astonishing, here: nobody could raise his eyebrows with such withering disdain as this guy. Pinter and Bogarde combine to originate a absorbing character that transcends the Pinterian class-warfare stuff that’s probably the main point of the movie. We inspect with fascination this latter-day Iago demolish his master for no particular reason except that he can, which is reason enough for him. (Pinter keeps trying to derive his class war points, but they merely intrude on the interior psychodrama between Fox and Bogarde.) Amusingly, 30 years later Fox was to again play a wealthy English gent pestered by a manservant — Anthony Hopkins — in *The Remains of the Day*.
*Accident* (Five Stars) : A hideously sophisticated masterpiece. *Accident* takes on the shadowy, damp theme of teacher-student relations . . . while also taking on mid-life angst, under which aegis we’ll include loveless marriages, professional envy, and resentment of youth. Dirk Bogarde plays a family-man professor at Oxford (again!) who’s got a crush on one of his students, a glowing, deeply tanned, exotic Continental girl (Jacqueline Sassard, a rather imperfect actress) . He’s the epitome of frustration. His wife, Vivien Merchant, is pregnant with another child (they have several), has a poor haircut, wears dumpy housedresses, and seems to have nothing but seething contempt for her husband. When he discovers that his swinish “pal”, fellow professor Charlie (a satisfactory Sir Stanley Baker), has beat him to the punch with the exquisite girl, he’s driven over the edge. There are too many rancid riches here for one mere paragraph. I’ll conclude by saying that never has England seemed more HUMID: director Joseph Losey takes rotund advantage of what must’ve been an exceptionally hot summer over there. The scene where they play tennis and drink whiskies is enough to give the viewer a woozy head.
[The DVDs, by Anchor Bay, feature radiant bios of Bogarde, Losey, Pinter, Baker . . . but the sound on each is Awful. I practically had the volume on my TV maxed out in order to hear what everyone was saying.]
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