L'avventuriero della Malesia

Although he made a handful of worthwhile films before them and won a competitive Oscar much later, Carol Reed is still most admired for his immediate post-WWII work: ODD MAN OUT (1947), THE FALLEN IDOL (1948), THE THIRD MAN (1949) – all of them BAFTA winners – and the movie under review. The latter is the least-seen and least-regarded of the lot (perhaps because there are very few sympathetic characters in it!) but emerges a remarkable achievement nevertheless, with the director's sure hand more than evident in several striking sequences throughout. It features a great cast, all of whom deliver splendid performances: Trevor Howard (second-billed but clearly the protagonist here), Ralph Richardson, Robert Morley, Wendy Hiller, George Coulouris (as an English-speaking native!), Wilfrid Hyde-White and Frederick Valk.

While the Far East atmosphere is undeniably vivid and captivating (and John Wilcox's cinematography suitably gleaming), this never draws attention away from the complex character study at the center of Joseph Conrad's typically sea-based and compelling plot line (which works its way up to an abrupt yet memorable ending) about a rogue trader driven mad by lust for a native girl (the silent Kerima) and delusions of grandeur a' la Kurtz in the same author's "Heart Of Darkness". For the record, OUTCAST OF THE ISLANDS was also a BAFTA nominee, was apparently shorn of 8 minutes for U.S. TV screenings and is featured in cult American film-maker Monte Hellman's All-Time Top 10 list, apart from being championed by eminent movie critics like Pauline Kael and David Thomson!

Probably the most exotic film of the black & white phase of Carol Reed's career as a director, 'An Outcast of the Islands' marks his venture into Conrad's heart of darkness.

Although Ralph Richardson gets star billing as Captain Lingard the film plainly belongs to Trevor Howard in the title role as Peter Willems, succumbing to the pleasures of the flesh in the feral form of Kerima.

The British empire are represented by Robert Morley who brings weighty presence to the part of Almayer (with Wendy Hiller as his wife kitted out incongruously in a cute little bonnet and carrying a parasol); while further down the cast list comes the remarkable sight of George Coulouris in blackface and veteran silent director A. V. Bramble as Kerima's father, a blind village elder who when he throws a curse on Howard draws the response - displaying typical British sang froid - "Well, that's not very helpful!"

Despite being of Polish descent and not learning English until his twenties Joseph Conrad became one of the greatest writers in the English language. His novels are deeply pessimistic and depict Man as being able neither to escape nor elude his destiny. To say that his works are unfilmable would be an overstatement but they certainly pose particular challenges. Such a pity that David Lean's plan to direct Conrad's late work 'Nostromo' did not come to fruition.

Here we have his second novel directed by another of our truly great directors Carol Reed. Although Reed's films of the 1960's show a distinct falling off, this comes from a period when he is really 'on form'. There are changes from the novel but that is par for the course where film adaptations are concerned. Conrad was fascinated by the nature of evil and here it is personified by Trevor Howard as Willems who plays his part with tremendous relish. Ralph Richardson brings his presence to bear as Lingard although his appearance is rather pantomimic. Robert Morley and Wendy Hiller are excellent as Mr. And Mrs. Almayer but her role is underwritten and 'ambiguous' to say the least.

In the novel Willems dies but here he is left to exist in the living hell he has created for himself and Aissa, played by Kerima, whose sexual magnetism has caused so much destruction. Willems has described his feelings for her as 'something between love and hate but stronger' and this ambivalence is powerfully depicted.

Reed and adaptor William Fairchild have ended the film with a masterful shot of Aissa lowering her head in despair. This sweeping and mesmerising film with a majestic score by Brian Easdale is from a director at the top of his game.

When the Marlon Brando version of Mutiny On The Bounty came out one of the scenes I remember is Trevor Howard remonstrating with Brando after finding him getting ready to get down to business with Tarita about controlling his lust. Captain Bligh would have had little use for the character that Howard plays in Outcast Of The Island where his lust truly gets the better of him.

Those tropical islands have always had a certain allure to us westerners, but this movie based on a Joseph Conrad novel clearly demonstrates the problem of having too much of a good thing. Howard's been in the area for years and he's indulged all the readily available vices too much for too long. When he's caught stealing it might be the end for him.

But an old friend trading captain Ralph Richardson takes pity on him and takes him from Singapore to a small island where his son-in-law Robert Morley lives with wife Wendy Hiller and real life daughter Annabel Morley. Richardson deposits him there, not that Morley truly wants him.

It doesn't take long for Howard to start stirring things up and all of his schemes and machinations involve a bad case overwhelming lust for the beautiful Kerima. She certainly is something to lust over. In the end she brings about his total ruination.

The central character among the Occidentals is Howard, but Richardson and Morley aren't any model specimens either. Richardson's main concern is keeping a monopoly of the trade there. The harbor is inaccessible for the most part, but Richardson knows a narrow navigable passageway through the reefs so he monopolizes the trade. And he's pretty ruthless about keeping his monopoly.

As for Morley he's one uptight businessman. The prior relationship between Richardson and Morley is taken up in a previous Conrad novel and sad to say if you haven't read that book, a lot of it will elude the viewer.

Hiller is good, but sadly wasted in a role of a woman trapped in a bad situation. She's got an unrequited yen for Howard, but she's still a faithful wife, just like Jean Arthur in Shane.

Outcast Of The Island is a most atypical South Seas story. Conrad's vision is not fully realized by the film, but the players all do a fine job with what they are given.

This exciting film is well-worth watching. It is visually rich, and the acting is consistently surprising, even from such known quantities as George Coulouris and Wilfred Hyde-White. Trevor Howard shows great emotional flexibility, a quality we don't necessarily associate with him, and Robert Morley twinkles a good deal less than usual. Whether Sir Ralph Richardson looks good throwing a punch is something you'll have to decide for yourself.

However, the camera falls in love with picturesque young boys diving into water, which delays, over-ornaments and distracts from Conrad's austere story-telling.

More importantly, two of the female characters, Mrs. Almayer and Mrs. Willems, are turned from native women into transplanted Englishwomen, leaving Aissa the only native girl involved.

This has the effect of turning the movie into a tract on the horrors of miscegenation, when Conrad's novel is clearly focused on Peter Willems' double betrayal of Tom Lingard. Willems' taking up with a native woman is treated by the film as unique, instead of the usual thing in these climes. It is shown as embodying Willems' personal moral decline, which the book would regard as nonsense.

So if you can find the film, by all means watch it and enjoy its many virtues, but the movie has less to do with one of the great novels then it pretends to.

P.S. TCM now has this film in its library!