'The Fallen Idol (1948)' was adapted, with a few changes, by Graham Greene from his novella "The Basement Room." Greene himself supported most of these alterations, including a plot reworking that saw young Phillipe condemning the innocent Baines through well-meaning if misguided lies, as opposed to the novella, in which a guilty Baines is betrayed by Phillipe's inability to keep secrets. One change of which the author did not approve was that of the title. I must differ with Greene on that point; I find "The Fallen Idol" to rather beautifully suggest the erosion of Phillipe's childish trust in the father-like Baines. The general theme of a man condemned by another's love was explored in a subsequent Carol Reed drama, 'The Man Between (1953),' in which James Mason is trailed to the West German border by an adoring child.
'The Fallen Idol' was the first of three collaborations between Greene and Reed (the other two being 'Our Man in Havana (1958)' and the legendary 'The Third Man (1949)'). Here, many of the pair's trademarks are apparent. Certainly, Reed's favoured camera tilt makes several appearances, though rarely as eccentric as those in 'The Third Man.' For a moment, the film's ending looked to be treading in similar waters to the American noir 'They Won't Believe Me (1947),' and I had chills at the prospect of Baines committing suicide moments before his exoneration. That the ending doesn't follow through on this threat didn't feel at all like a forced happy ending; I genuinely felt relieved at Baines' survival.
The performances in the film are mostly impressive, particularly Ralph Richardson, who gradually reveals the flaws in his character, and Sonia Dresdel, as the nasty Mrs Baines who arguably gets what she deserves. French actress Michèle Morgan reminded me of Ingrid Bergman, and perhaps it's no surprise that she had previously starred opposite Bogart, Rains, Greenstreet and Lorre in 'Passage to Marseilles (1944).' Bobby Henrey, by all accounts a very difficult child actor to work with, does a good job of appearing a well- meaning nuisance, but the final scene, with his consistent and perplexing "please sir, please sir, please sir" whining was like fingernails down a blackboard.
'The Fallen Idol' was the first of three collaborations between Greene and Reed (the other two being 'Our Man in Havana (1958)' and the legendary 'The Third Man (1949)'). Here, many of the pair's trademarks are apparent. Certainly, Reed's favoured camera tilt makes several appearances, though rarely as eccentric as those in 'The Third Man.' For a moment, the film's ending looked to be treading in similar waters to the American noir 'They Won't Believe Me (1947),' and I had chills at the prospect of Baines committing suicide moments before his exoneration. That the ending doesn't follow through on this threat didn't feel at all like a forced happy ending; I genuinely felt relieved at Baines' survival.
The performances in the film are mostly impressive, particularly Ralph Richardson, who gradually reveals the flaws in his character, and Sonia Dresdel, as the nasty Mrs Baines who arguably gets what she deserves. French actress Michèle Morgan reminded me of Ingrid Bergman, and perhaps it's no surprise that she had previously starred opposite Bogart, Rains, Greenstreet and Lorre in 'Passage to Marseilles (1944).' Bobby Henrey, by all accounts a very difficult child actor to work with, does a good job of appearing a well- meaning nuisance, but the final scene, with his consistent and perplexing "please sir, please sir, please sir" whining was like fingernails down a blackboard.