User reviews

Just saw "The Fallen Idol" at the Nu-Art in West Los Angeles on the last day of its one week run, with a new crystal clear 35 mm print. The meaning of the title only becomes clear at the film's conclusion, so I won't say much more on that score. From a Graham Greene novella which I have never read, the author drafted the screenplay, so presumably the film remains faithful to Greene's perennial themes: loyalty and betrayal; faith and faithlessness; marriage and divorce. What makes these issues intriguing is that the film largely revolves around the point of view of an innocent, charming young boy called Phillipe, played to perfection by Bobby Henrey. He lives in the London embassy of a French speaking country, which is a sort of purgatory (always the Catholic themes with Greene) which is both in England and not subject to its laws. He is taken care of by a kind valet/ chef de maison called Baines (understatedly played by Ralph Richardson) and his Cruella De Ville of a wife (played as the personification of small-minded evil by Sonia Dresdel). Phillipe has no mother (she has been unwell and away for a long time), and no memory of her. Insteads, he has the run of his own Garden of Eden-the huge Embassy with its lovely views over London, great rooms and sweeping staircases. He even has his own snake- a pet that he hides behind a brick on the balcony and carries around in his pocket. He hero-worships Baines, who indulges him and talk to him and hates Mrs Baines who orders him around, hectors him and threatens him at every turn. The story of the film occurs over a week-end, where Phillippe and the Baines' are left alone in the Embassy as the ambassador has gone to bring back his wife from her convalescence, and revolves how Phillipe understands the love triangle between Mr Baines and Mrs Baines and the lovely Julie (played with cheek-bones high) by Michele Morgan, speaking both French and English.

Look out for some terrific performances by the main cast (especially Bobby Henrey as Phillipe), but also by a series of supporting characters : two washerwomen, a sharp tongued lady of the night, a kindly bobby, several detectives and a perceptive doctor. The photography bears mentioning. There are shades of the "Third Man", as well as a great hide and seek game in darkness under the furniture in the empty Embassy, and a truly memorable run through the empty streets of London in the dark. From a personal point of view I enjoyed several scenes shot on location at the London Zoo, which was all very familiar even from a fifty year vantage point.

The film won a British Academy award so it's not exactly undiscovered, but it's not been easy to find at revival theaters or on DVD, but it deserves to be. As I said at the top, a minor masterpiece which operates on many levels. (Los Angeles-April 2006).

Fallen Idol is a great film, with all actors in fine form, especially Ralph Richardson, and including the boy. Richardon is the embassy butler married to a shrewish, domineering wife. He has an illicit, albeit discreet love affair with a beautiful young embassy secretary - you can't help but feel for them both. When the shrew is found done in by a fall down the ornate embassy staircase, the wonderful gentlemen detective types enter, ever so politely, of course. Fallen Idol is an example of the best of British movie-making: low key, sympathetic, civilized. The boy's pet snake is a nice touch. A gem; a good example of the type of fine film that I wish could be made more available here. A Graham Greene story, directed by Carol Reed - what more could we want. Another great Carol Reed 'lost' film is 'Outcast of the Islands', also with Ralph Richardson.

I'm amazed at the time of writing this, there are only 33 comments and 1700 votes. How is it that more people haven't seen this movie.

Another classic pairing of Directot Carol Reed with Writer Graham Greene - who would later go on to even more success with their collaboration in "The Third Man". While I wouldn't rate this movie quite as high as TTM, it is very good film in its own right.

This is a tale as seen from a child's eyes in a very grown-up world with very adult issues. This is captured superbly in the cinematography that uses low angles at child height and looking up. This is also a story of secrets and lies - and so the camera is very effective in changing shots and angles to always give them impression that others are spying or eavesdropping. This is also conveyed very effectively with the set - which is filmed substantially withing the Embassy residence which is a huge, lavish mansion. It has many levels and staircases - none so impressive as the ornate, curving main staircase. The camera also makes good use of close-ups and wide angle shots. Often times, movies with stick with one or the other. I think it helped keep it interesting.

The characters were all well cast. I especially liked Ralph Richardson as the butler whom the boy, Phillipe (Bobby Henry), idolizes. Richardson has just the right balance of decorum and warmth to make you understand why the boy, who is starved for attention, follows after him. He has a very smooth speaking voice that is pleasant to listen to. He reminds me a lot of Kevin Spacey in his appearance and demeanor (especially in "Pay it Forward"). I think the director did a great job of eliciting a good performance out of the then 8 year old Henry. I heard that the director's secret was not to have the child respond to an actors lines - but to que the child himself in a different take. I think the precociousness and spontaneity of the child were captured quite well with this.

There are quite a few memorable scenes - hide and seek in the dark, cavernous mansion; the boy running through the dark London streets with all the alleys, archways, wet streets and glowing lanterns; the paper airplane flying from the upper balcony and circling all the way down, slowly, to land at a detectives feet; the detective questioning Baines at the top of the stairs, all the while the tilted window is visible in the background. The music changes pace with the story, and at times it was frantic and frenetic to match the suspense and fear of the story. I felt it was used quite effectively.

The story addresses themes of loneliness, betrayal, secrecy, lies, and loss of innocence in a plot that kept my interest from beginning to end. My only complaint is that at times the dialogue was difficult to understand with the clip, British accents. I wish this had been offered in closed captions so I could catch some missed conversations.

Lies, sometimes, are an act of kindness. Many times I hasten to add. The imagination of a lonely child is ignited by a meek man in love. The man, as played by the extraordinary Ralph Richardson, is a mass of contradictions and yet we understand him. Married to a shrew and in love with Michele Morgan no less. Carol Reed is not a director that comes immediately to mind when one lists the greatest directors of all time, but in my book, is right up there with the very best. No other director has been able to bring Graham Green to the screen with its spirit so gloriously intact. Guilt and fear as riveting entertainment. Suspenseful, funny and beautiful to look at. Go try to top that.

Was there ever a more civilized treatment of infidelity than this British suspenser. Ralph Richardson's butler Baines is the very last word in polished civility and stiff upper lip no matter how extreme the provocation. Yet he's so unfailingly kind and considerate to the boy Phillipe that he's among the most admirable of transgressors. The bond between the lonely son of the French ambassador and the hen-pecked English butler is memorably touching and the emotional heart of the film.

Director Carol Reed has basically a single set to work with. But it's a great one with the sweeping staircase, high domed ceiling, and checkerboard tiles, all keeping the eye entertained at the same time the sinister events unfold. Those events are driven by poor Sonia Dresdel who has the thankless role of the cruel wife and housekeeper Mrs. Baines that she plays to the hilt. You just know from the start that Phillipe's pet garter snake, MacGregor, is doomed in her bleak household. In fact, the screenplay has loaded the deck by making her such an unsympathetic figure. Who can blame Baines for his covert rendezvous with the lovely Julie (Michelle Morgan) when his shrewish wife remains in the empty embassy waiting to pounce.

What really distinguishes the movie is its skill at viewing adult actions through the eyes of the child. Thus, instead of a conventional two-shot close-up of Baines and Julie in intimate conversation, Reed gives us a three-shot from the perspective of Phillipe as he watches them. We may know what's up with them, but we also share the boy's puzzlement over a world he has yet to grow into. We share that perspective throughout, which is not only an unusual one, but visually reinforces the touching bond between the child of the elite and the highly polished commoner. It also turns the emotional climax (not the dramatic) into a memorably revealing one-- a rite of passage, as it were.

Anyway, in my little book, the movie qualifies as a genuine classic, placing Carol Reed in the same Pantheon as contemporary British masters Hitchcock and Michael Powell. Once you see it, you don't forget it.

"The Fallen Idol" builds on a classic situation of English children's literature--the lonely rich kid from overseas in the big house left with hired caregivers-- to create a masterful suspense tale that deftly examines truths and half-truths, lies and white lies from the boy's confused perspective.

Based on Graham Greene's short story "The Basement Room", the film builds on the look of Hitchcock's "Rebecca", with a house as visually significant as Manderlay, plus fraught with Lillian Hellman's sophisticated view of childhood as in "These Three". Key is not just Georges Périnal's enthralling story, but the stunning direction by Carol Reed in how he uses gorgeous black and white cinematography from both a memorable interior and a London that ranges from scary night to a misleadingly bright daylight that is equally full of secrets, as seen in a new 35 MM print at NYC's Film Forum.

The beautiful production design is dominated by a gorgeous staircase in the ambassador's residence that has to rank with one of the all time movie centerpieces as in "Gone With The Wind", and is as central for the first and last third of the film as the Rear Window in another Hitchcock film. Reed has the camera go up and down those heavily symbolic stairs as a shared link from the main floors that are the busy public areas, down to the basement servant quarters then up and up to the private residential areas, with overlooking balconies and windows that are key for spying on each level. The staircase sets up several dramatic events (adding layers to the film's title), climaxing in a notable scene of the incredibly tense voyage of a child's innocent-seeming paper airplane that carries a significant clue slowly, slowly traversing that vertical no-man's/everyman's land from the top to the bottom, as we hold our breath where it will land.

Throughout the film, the complex world of adult relationships and interactions is seen through the eyes of a child (the wonderfully natural, lively, lisping Bobby Henrey - who now lives in Connecticut and did a Q & A at the Film Forum I didn't attend) so that childish activities take on ironic or double meanings of freedom or dread, between appearances and reality, from a good night story, to a game of hide and seek, to a picnic, to running away, to an idyll at the zoo that one would assume inspired Rowling for a key scene in "Harry Potter and the Sorcerer's Stone". Throughout the film, the boy constantly misunderstands what he is seeing - sometimes he sees the truth, sometimes he doesn't, sometimes he only sees part of the truth, as the adults alternate in advising him to lie or don't lie.

The young Ralph Richardson is absolutely marvelous as he switches from father substitute to hen-pecked husband (Sonia Dresdel as his wife recalls Agnes Moorhead), to relaxed lover, to efficient butler.

While this new print revival is being distributed as a forgotten masterpiece, my parents vividly remembered seeing it first run in their neighborhood Brooklyn movie theater and that it was quite popular. I presume that the same team's next work on the masterpiece "The Third Man" overshadowed this gem in film history, but also perhaps because this film doesn't end on quite the cynicism that a contemporary audience expects from their work.

When the great directors of film are named these days, the incomparable Carol Reed is rarely mentioned. He has been completely surpassed in the public esteem by his British contemporary David Lean. After the success of Reed's English films, a period which began in 1940 with the coal-mining film "The Stars Look Down" and ended with "The Outcast of the Islands" in 1954, the director was discovered by the big Hollywood studios; he went on to direct a number of big-budgeted Technicolor international productions –-"Olivier," "The Agony and the Ecstasy," and "Trapeze"—all of which he handled with consummate professionalism, but somehow their box-office success unfairly diminished his reputation with the critics. He is perhaps best remembered today for "The Third Man," which many people erroneously think Orson Welles directed. Although Reed's early films were shot in London films studios and on location all around the word, they remain quintessentially British in understated mood and attack --B&W films made in collaboration with the best expatriate talent that had gathered in London during the war years. ("The Fallen Idol" is photographed by the French cinematographer Perinal, the Jugoslavian editor Hafenrichter, and the Hungarian set designer Vincent Korda.) Reed at his best has the unique ability to portray the most complex of human relationships with voices lowered; witness how masterfully he directs the detectives and suspects in the final reels of this superb film.

As a child you overwhelmingly annoy, completely irksome the most irritating boy, poor old Baines must entertain, while trying to break from the chain, and make off with lover Julie, for some joy. But events occur and you see things unfold, then you promise to keep secret what you're told, causes you to get Tourette's, and then become almighty pest, as the cops arrive, it's hard to be consoled. The web that's spun then catches hold and yarns unwind, constabulary find a way to not be blind, you increase in irritation, continuous without cessation, I'm sure your parents will ensure, you are confined.

Ever so slightly dated, with language that defines the era, although Ralph Richardson is great as the stereotypical British tongue biting bloke.

Even though this is a well made movie regarding direction and cinematography, I found the plot to be lacking in depth, and the characters are not very likable. Not likable enough as to care what happens to them anyways. Philip, the little boy that is the protagonist, is one of the most annoying kids ever captured on film. He is exactly how Dennis the Menace would look if you were to put him in a film noir. I found my self thinking that I would never want to have kids on more than one occasion during this film ! As the entire plot revolved around the ill-mannered little devil, i found it to be very very thin. I wouldn't bother watching this film if I knew what it was about. Much better "film noir" movies out there...

A riveting little movie. Very Hitchcockian in its style. Smart, economical dialogue. After a somewhat slow, crafty build, it will grab hold of you. Wonderful bit with a paper airplane. Filled with superb little touches.

This film has almost been forgotten and isn't available on DVD. It was produced the year before the same principals (Graham Greene and Carol Reed) made The Third Man and delves into some classic Greene themes.

The POV is told almost completely through the eyes of a boy who wants to protect his beloved friend and butler Baines. In the process, he almost ensures that Baines will be charged with murder.

It's wonderfully staged so that the boy gets to witness all kinds of adult stuff, but doesn't completely understand what he's seen.

Ralph Richardson is great as Baines and there is genuine suspense in whether the boy will tell the truth or lie and whether either will help his friend.

This one deals with a murder at a foreign embassy in London as the butler's (Ralph Richardson) wife , Mrs. Baines (Sonia Dresdel) shows up killed . As a young boy ,the engaging Anglo-French Phillipe (Bobby Henrey ) believes that thr honorable servant he admires is guilty of murdering his spouse . Unwittingly , the lonely little boy , Ambassador's son , influences the police investigation run by two Inspectors (Denis O'Dea, Jack Hawkins) so that the butler becomes the prime suspect . The child attempts to protect the person he admires, his working lower class hero , but things go wrong when apppear more and more clues against him . Furthermore , the butler has a hidden lover , Julie (Michèle Morgan) .The Suspense is Almost Unbearable ... in this Four-Award Thriller !

An intelligent and powerful effort by Carol Reed and a decent example of the respectable quality of the British cinema which achieved splendor and apotheosis in late 40s . Carefully crafted film with notable interpretations , plenty of thrills , intrigue , twists and turns . Director Reed carries out a restrained , tasteful making , as he explores admirabily a controlled environment , upper and lower classes , he has a special ability to elicit remarkable acting from his actors and a nice skill for delving psychological depths without sacrifice narrative coherence . And providing a sophisticated analysis of the intersection between realities of children and adults . Interesting and thrilling script based on a short story titled ¨The basement room¨ by Grahame Greene and adapted by himself . Ralph Richardson is perfect as the upright and accused servant , he gives a magnetic and sympathetic acting . And the child responds masterfully to the particular demands of the director ; in addition , Michele Morgan delivers an enjoyable portrait as the gullible lover . And remaining support cast is frankly excellent , such as : Sonia Dresdel , Denis O'Dea, Jack Hawkins , Walter Fitzgerald , Torin Thatcher, James Hayter , Geoffrey Keen Bernard Lee , James Hayter , among others .

The motion picture was compellingly directed by Carol Reed , being one of his most engrossing films showing understanding of character and realized in the middle of his best period . Reed once considered to the greatest British director , had his clay feet , mercilessly exposed by the auteurist critics of the 60s . Now stripped fo his old and inflated reputation it is posible to appreciate better his virtues . Reed worked for important producers as Alexander Korda and J. Arthur Rank . For Reed, who would wisely decide to start producing his own films in order to have more control over them, finding his niche was still a challenge into the 1940s. He was only too well aware that the film director led a team effort--his was partly a coordinator's task, harmonizing the talents of the creative team. The modest Reed would admit to his success being this partnership time and again. So he gravitated toward the same scriptwriters, art directors and cinematographers as his movie list spread out.There were more thrillers and some historical bios: Kipps (1941) with Michael Redgrave and The Young Mr Pitt (1942) with Robert Donat. He did service and war effort fare through World War II, but these were more than flag wavers, for Reed dealt with the psychology of transitioning to military life. His Anglo-American documentary of combat (co-directed by Garson Kanin), The True Glory (1945), won the 1946 Oscar for Best Documentary. With that under his belt, Reed was now recognized as Britain's ablest director and could pick and choose his projects. He also had the clout--and the all-important funds--to do what he thought was essential to ensure realism on a location shoot, something missing in British film work prior to Reed. Odd man out (1947) with James Mason as an IRA hit man on the run did just that and was Reed's first real independent effort, and he had gone to Rank to do it . And , of course , his greatest hit ¨The third man¨with Orson Welles and Joseph Cotten . Rating : 7.5/10 . Well worth seeing . Better than average .

This is an excellent adaptation of the Graham Greene novella. Richardson's performance is incredible, and the relationship between Philippe and the butler is the centerpiece of the film.

I sometimes wonder if this film would have been more successful with a different title. IMHO "The Fallen Idol" suggests a Saturday matinee shlockfest or a pretentious drawing room comedy.

This is a good companion piece to another Graham Greene novella -- also directed by Reed -- the Third Man, which is just possibly the greatest film of all time...

A British mystery; A story about the son of a French Ambassador to London who idolizes the household butler, but matters become complicated as their friendship strengthens. Director Carol Reed crafts an intriguing story based on Graham Greene's short story "The Basement Room". It's about viewpoint and perspective intermixed with lies and betrayal, told almost completely from a child's view. Bobby Henrey is naturalistic and convincing as the young boy. Ralph Richardson plays the decent butler with human flaws very well. There is good support from an array of other talent in Jack Hawkins, Bernard Lee, Geoffrey Keen, Dora Bryan and Dennis O'Dea. Its brilliance is subtle: the counterpoint between adult themes of guilt and intrigue and an innocent child's craving for love and attention but having his childhood betrayed when he misunderstands the real world of adult trickery.

"The Fallen Idol" is one of the few films I have seen that tackles with some subtlety and insight the power imbalances between adults and children -- especially as they are complicated (in the case of Baines and Phil) by questions of class and status within a household (the French embassy). The scene in the police station, featuring the young boy and the prostitute Rose, is clever in every sense of the word: it is funny, but also complicates some of the thematic concerns of the film (class, access to economic power, the politics of sex) without hitting the viewer over the head with those connections ...as might occur in a mainstream Hollywood film today. That Reed managed to draw such a brilliant performance from a 9 year-old non-actor is truly impressive, but one need not take Bobby Henrey's lack of previous acting experience into consideration in order to recognize the brilliance of all involved. This is a great film, one that continues to unfold even with repeated viewings.