Sin of Esther Waters

I waited up until 2:00 am to see this film back in 1964. Very well done and I was surprised with all the attention paid to "Upstairs;Downstairs" that this film has not made it to video.

The period detail is outstanding and Dirk Borgarde gives a very good performance as does Kathleen Ryan. I have read that Dirk's younger brother played his "son" in this film. By all means, if you have a chance to view this, do so.

This is quite a decent Victorian melodrama that sees naive housemaid "Esther" (Kathleen Ryan) fall for the mischievous charms of "Latch" (Dirk Bogarde). Left high and dry - with their baby - after he absconds with another woman, she must struggle to hold down a job and make ends meet at a time when there was no such thing as maternity leave. It is just when she seems to be making some progress that her nemesis turns up again - by now a quite successful pub owner and gambler with underlying health problems - and when he realises that they had a child together, he wants to try to help - and their drama intensifies. There are some lovey scenes set around the famous Epsom Derby horse race and when both actors are on screen at the same time, there is a distinct and quite engaging chemistry between Ryan and Bogarde. Sadly, though, the screenplay isn't up to much and though the support from the likes of Cyril Cusack and the rather matter-of-fact Nuna Davey as the matron tries it's best, the drama itself is actually quite weak and predictable. Keep an eye out for the zip on her frock - a woman well ahead of her times!

If you like racing, this movie is for you (though I could have done without it, as that dragged on too long) and if Victorian melodrama's your thing, then you've come to the right place as well.

Kathleen Ryan does a good job in the title role, a young woman, working as a servant, who finds herself "in the family way", after being seduced by footman William Latch (Dirk Bogarde), who then elopes with a young woman of means. Esther faces tough times, harsh attitudes, almost loses her baby boy to unscrupulous black marketers, and an eventual reunion with William (who didn't know about their son), whom she prefers to the local preacher (Cyril Cusack) who's willing to marry her and help raise her son.

Life changes for the better, but not for long. But one thing stays the same: her deep and abiding love for her child.

It's a good movie and doesn't get either too maudlin or too sentimental.

I have always been fond of the British costume dramas and melodramas of the immediate post-war period, but this is a decidedly lacklustre example of the breed. Rank had undertaken an ambitious production schedule but was sorely lacking in talented and experienced directors; nor did Dirk Bogarde have the experience to carry the male lead, a role crying out for the likes of Stewart Granger, who apparently turned it down.

Opportunities are missed in the early scenes in the Barfield country house, with those in the middle of the picture, depicting poor Esther having her child in the workhouse, her encounter with the sinister baby farmer, and the slave labour conditions of her work as a domestic servant, being considerably more resonant. Then, around the time of the introduction of Cyril Cusack as a rather wet lay preacher, it all starts to go down hill. Though evident that a great deal of time, expense, and attention to detail was expended on the racing scenes toward the end, the prolonged business with Bogarde's gambling cronies struck me as monumentally tedious. Kathleen Ryan as Esther is one of the few saving graces and, according to Bogarde, she gave him a silver brandy flask after shooting was over, engraved with 'To hell with Esther Waters!' I had a similar sentiment.

For me, the strength of this film is in the accuracy of the racing details, the costumes and the culture of the time. The racing scenes, shot on Epsom Downs recreate the Derby's of 1881 and 1885, and have been thoroughly researched, even the jockeys used for Fred Archer and Fred Webb show an amazing likeness. Also, the scenes in the streets, on the racecourse and in the public house are totally believable.

This is a film made by those who love and cherish the subject. Although to my knowledge, having worked at Racing Post for many years and, written the history of the Derby, very few people today know of the this film. Strangely, a few years ago, I awoke at 4 am, unable to sleep, to find the film just starting and have never seen it since! However, this film has much to offer - a Victorian romance, the struggle of conscious, excitement and, a ripping gambling yarn.

Michael Church.