Based off of Terence Rattigan's plays, Separate Tables is one of the few stage adaptations that transfers extremely well to the big screen. Most play-to-film adaptations are woody and wordy, and the dialogue is extremely artificial. If you've seen a Tennessee Williams movie, you know what I mean. William Inge's plays usually translate well, as does this film, which was nominated for seven Oscars and won two in the 1959 ceremony.
The entire film takes place in an English hotel that's like a permanent bed and breakfast. Wendy Hiller, who won Best Supporting Actress, gives an excellent strong, subdued, and conflicted performance as the hotel proprietress. She's romantically involved with one of her tenants, Burt Lancaster, a tortured soul with a violent temper who drowns his sorrows in alcohol. What will happen when Rita Hayworth, Burt's old flame, comes to town? Gladys Cooper virtually reprises her role from Now, Voyager and plays a controlling, judgmental mother to Deborah Kerr. Deborah gives one of her finest performances; on the surface she's frightened, meek, and obedient, but underneath it all is a ticking time bomb, ready to explode with hatred of her life.
David Niven is another resident, an old, retired Major, always full of entertaining war stories and a kind word for the sheltered Deborah Kerr. Niven won Best Actor for his performance, and while I am probably one of his biggest fans, it always seemed odd to me that he was up for Best Actor rather than Best Supporting Actor. His character is the central crux of the plot, but the screen time is pretty equally split among the main characters. It's hard to pick out one actor or actress as "the lead". Niven is aged up for the role, and puts on a blustering persona to fit his character. He ends his sentences with a "what, what?" as a proverbial English Major would, but it's clear from the first scene he's hiding something. His constant covering is subtle and layered superbly. He doesn't act like he's "acting", and his performance certainly couldn't have been seen from the back row of the theater, but if you're on the lookout for every flinch on his face and slight pause of his words, you'll see a remarkable performance.
The worst part of the movie is Rita Hayworth. I've never been a fan of hers, and she brings nothing special to this role. Her mediocrity might not have been felt on its own, but she was surrounded by such fantastic performances and was showed up constantly. Still, Rita aside, this movie is definitely worth watching. It's a fantastic classic, with a tense, judgmental plot, but one that will keep you on the edge of your seat all the same. For a great double feature, rent Come Back, Little Sheba and Separate Tables-and don't be surprised if you get a lump in your throat more than once.
The entire film takes place in an English hotel that's like a permanent bed and breakfast. Wendy Hiller, who won Best Supporting Actress, gives an excellent strong, subdued, and conflicted performance as the hotel proprietress. She's romantically involved with one of her tenants, Burt Lancaster, a tortured soul with a violent temper who drowns his sorrows in alcohol. What will happen when Rita Hayworth, Burt's old flame, comes to town? Gladys Cooper virtually reprises her role from Now, Voyager and plays a controlling, judgmental mother to Deborah Kerr. Deborah gives one of her finest performances; on the surface she's frightened, meek, and obedient, but underneath it all is a ticking time bomb, ready to explode with hatred of her life.
David Niven is another resident, an old, retired Major, always full of entertaining war stories and a kind word for the sheltered Deborah Kerr. Niven won Best Actor for his performance, and while I am probably one of his biggest fans, it always seemed odd to me that he was up for Best Actor rather than Best Supporting Actor. His character is the central crux of the plot, but the screen time is pretty equally split among the main characters. It's hard to pick out one actor or actress as "the lead". Niven is aged up for the role, and puts on a blustering persona to fit his character. He ends his sentences with a "what, what?" as a proverbial English Major would, but it's clear from the first scene he's hiding something. His constant covering is subtle and layered superbly. He doesn't act like he's "acting", and his performance certainly couldn't have been seen from the back row of the theater, but if you're on the lookout for every flinch on his face and slight pause of his words, you'll see a remarkable performance.
The worst part of the movie is Rita Hayworth. I've never been a fan of hers, and she brings nothing special to this role. Her mediocrity might not have been felt on its own, but she was surrounded by such fantastic performances and was showed up constantly. Still, Rita aside, this movie is definitely worth watching. It's a fantastic classic, with a tense, judgmental plot, but one that will keep you on the edge of your seat all the same. For a great double feature, rent Come Back, Little Sheba and Separate Tables-and don't be surprised if you get a lump in your throat more than once.