La otra mentira

Excellent job by Laurence Olivier, Simone Signoret and especially Sarah Miles, hat a revelation. Olivier looks tired and lethargic but maybe his heart wasn't into this project.

You teach English in a school below your station, a spell in inside forecast your future resignation, as you objected, now you're tarred, opportunities, are now all barred, and while there's spirit, it fills a glass, for your libation. Your marriage has become bitter and soured, as your wife thinks you're afraid, a reserved coward, but you're generous and kind, you feel morally inclined, to help young Shirley Taylor, to become empowered.

Great performances from all the cast, but especially Sarah Miles who, as the besotted pupil, takes her teacher, also wonderfully performed by Laurence Olivier to the depths, as generosity and charity are rewarded with retribution and humiliation, when advances are not reciprocated, and he doesn't succumb, to the temptation.

Sir Olivier repeats the line that it doesn't make sense during the movie, and it couldn't be more appropriate as a summation of this hodgepodge of a film. I'm left wondering not only what I watched but why and what was the point. The challenge is reviewing it without spoilers.

I'm not convinced I like any of the characters. I'm not convinced that the ending is satisfying. I'm not convinced I'll watch it again. Regardless, the actors excel in their roles.

I finished watching it because Simone Signoret can do no wrong in my book. I didn't give up on it because the direction and editing are superb. Sadly, I'm left with asking myself what was the point.

This film feels specific. If you've ever seen the Family Guy episode when they're about to drown in the panic room and Peter says that The Godfather insists upon itself, then you'll understand how this film works.

Laurence Olivier, that most noble of actors, could play a downtrodden loser better than anyone. Here, in the 1962 film "Term of Trial," he's a good, idealistic man, who teaches school to mostly ingrates. He believes in his work, and he's a man of principle - he was a conscientious objector in World War II and went to prison for it. Though he's viewed as a weakling by his wife, in fact, by going against the grain, he shows a great deal of personal courage. It's not appreciated, especially by his slatternly wife (Simone Signoret).

In this film, a young girl (Sarah Miles) whom he's tutoring develops a bad crush on him. When he rejects her, she accuses him of molesting her and his kindnesses to her - because she was one student who seemed to really care about learning - are used against him.

This is a marvelously acted film, providing the debuts for the lovely Sarah Miles, as well as for Terence Stamp as Mitchell, a young hoodlum whom Miles takes up with as revenge against Olivier. As the unhappy wife, Signoret is wonderful, and Hugh Griffith turns in a firecracker of a performance as Olivier's attorney.

Olivier is often criticized for selling out because he needed money; he's also criticized for being hammy; and he's criticized for being the great Laurence Olivier by people who have no idea of his contribution to acting. He did this film because he needed money, but it's an excellent role nonetheless, and he gives a magnificent performance. For people who think he's a big ham, I urge them to see this film, "Sister Carrie," and "The Entertainer," where he plays a bad performer. It's a real tour de force.

Gritty, and worth seeing.

The main character of this film is bleak dreariness on the verge of utter hopelessness, It is supposed to be one of those shabby northern English industrial cities, but the film was actually shot in Dublin. You never see any sunshine in this environment, and the only relief of the film is the class excursion to Paris, which constitutes the dramatic turn of the drama, when young Sarah Miles in her first great role introduces her serious advances to her poor middle-aged childless teacher, who never was able to defend himself, and least of all against a pretty girl, who seriously means business. His wife Simone Signoret, always superb, looks through the young wench at once but tolerates her all the way, until she falls on her own fallacy. The only villain is the young Terence Stamp in perhaps the nastiest role of his life as a young insolent delinquent and sexual maniac. The acting is superb, Hugh Griffith crowns the performance as an unforgettable lawyer, and the only objection against the film would be against its dismal dreariness. They are all stuck in the trap of the humdrum desolation of their dreary city of second class discomfort and will never find a way out of it.