The Bespoke Overcoat

Celebrated British fantasy short from an equally famous source, a story by the great Russian novelist Nikolai Gogol which has been filmed several times (I own two other adaptations myself: the 1952 Italian version and a 1954 TV program also made in Britain: interestingly, both of these had served as dramatic showcases for comic stars i.e. Renato Rascel and Buster Keaton[!] respectively). For the record, yet another acclaimed cinematic rendition of the tale is the Russian one from 1959.

In the case of the film under review, however, the essentially low-key handling benefits tremendously from the presence of character actors in the central roles (and also by emphasizing their Jewishness): Alfie Bass – some of his mannerisms here would be reprised in Roman Polanski’s horror spoof THE FEARLESS VAMPIRE KILLERS (1967)! – is the poor and meek clerk, who wishes to own an overcoat that would shield him from the cold environment at his workplace (ironically, a textile business), and David Kossoff the modest but “Number One” tailor he entrusts with the task.

Actually, the film begins with Bass’ funeral – and Kossoff buries the coat with him, the former having died (of a broken heart from being sacked) before it was completed. Subsequently, the tailor is visited by the ghost of the clerk – recounting the animosity with his employer, how the ownership of the overcoat became a question of dignity and pride, how he lost his job and ensuing lonesome death. Bass, however – who feels spited, having been shown no gratitude for the service he diligently rendered for so long – asks Kossoff to accompany him to the shop intending to ‘abscond’ with a piece of expensive fabric (finally settling on a sheepskin coat).

Director Clayton boldly chose to treat ghost stories with the same level of realism accorded to a gritty drama (see also THE INNOCENTS [1961], on whose R2 SE DVD this short was thankfully made available) and for which he employed cinematographer Wolfgang Suschitsky (especially effective are the transitions from the present to Bass’ recollections and back again) and composer Georges Auric (who supplies a lovely score). The end result – which emerged both an Oscar and Venice Film Festival winner – is fascinating and virtually flawless, ensuring its solid reputation (for a short subject) among cineastes.

Those who have written eloquently of their love for this picture may by now have found it.

If they have not, they should know that it is available as a splendid extra on the BFI DVD of Jack Clayton's The Innocents. Worth going multi-region if not in Region-2!

Both films look very good and The Bespoke Overcoat seems to have gained a few minutes since its original release: it does not begin with the deathbed scene described by a previous poster but with a pre-title sequence in a graveyard.

I hope this is helpful.

The director-debut of Jack Clayton, adapted from a story bij Nicolas Gogol. It won Clayton an Oscar for the best short film and was also winner at the Venice film festival in the same category. Pauline Kael called it one of the best short movies ever. I don't know which of these "awards" is the highest honor. It surely helped Clayton kick starting his career, that was continued three years later with "Room at the top", another adaptation of a famous novel.

In a film of only 36 minutes the subjects of poverty, friendship, justice and professional pride are covered. All these subjects are illustrated using an overcoat as the immediate starting point. Amazing! As was te be expected in a story by Gogol these subjects are covered with a touch of lightness.

The film is very stage-like but the camerawork is perfect. The actors are the same as on stage, and they did their job for a busticket and a lunch-meal. After all the budget of the project was only 5.000 pound, which was even then extremely low budget.

If you've ever had one of those curious dreams in which you're matter-of-factly discussing with a dead friend or relative who's absence you've been feeling the fact of them having passed over, Jack Clayton's version of the story by Gogol will have an eerie resonance anticipating the deceptively corporeal ghosts that so troubled Miss Giddens in his later 'The Innocents'.

I saw this film tonight December 2008 on TV and it was a grainy black and white. That is the worst thing I can say about it. I have in the past seen David Kossoff and Alfie Bass in many films but none ever had the impact that this film had on me. David Kossoff has always been regarded as a very good actor and so he was in this film. But I know Alfie Bass more for the comedy roles that he has played. His performance in this film was outstanding. I see that he was nominated for a Best Actor Award and I think his performance was Oscar standard. This film has made more of an impression on me than any of the more recent films made with big stars and big budgets. I would recommend this film to anybody who enjoys a good story, great acting and older films. I give it 9 out of 10 only because I don't believe that it is possible for human beings to be perfect.