Loss of Innocence

I was only 10 when I saw this film but I'd been seeing films for around 3 years at least already so I really did understand what was going on, etc. For some reason, I OFTEN think of this movie and have been trying to remember the title for years to see if it's available for purchase. I can't wait to see how I like it now, 40 years later... for some reason that countryside is in my mind and I must see it again.

I saw this lovely little film shortly after it first appeared. It is a thoroughly charming and winning motion picture about first love, disillusionment, and acknowledgement, as the young and lovely Susannah York comes of age. She is absolutely winning in one of her first major roles. Kenneth More is superb as the object of York's unrequited affections, and Danielle Darrieux is splendid as More's jealous lover. Wonderful scenes of the French countryside (I remember especially a charming visit to a wine chateau) make this a delightfully wistful experience.

Susannah York goes through "A Loss of Innocence" in this 1961 film, titled "The Greegage Summer" in England. Directed by Lewis Gilbert, "A Loss of Innocence" also stars Kenneth More, Danielle Darrieux, Jane Asher and Maurice Denham. When their mother becomes ill on vacation in France and has to be hospitalized, she tells her teenage daughter Joss (York) to go to the hotel with her three siblings. When they arrive at The Château, they are not welcome by the owner, Zisi (Darrieux), who doesn't like children in the hotel. However, her gentleman friend, Eliot (More) insists that they stay the night, and to make him happy, she agrees. Thanks to Eliot's intervention, they are allowed to continue to stay. The younger children grow very fond of him, and he of them. Joss has been staying in her room ill (probably with her period). When she finally emerges, no longer in the bedraggled state of the first evening. Eliot realizes she's not a child but almost a woman, and a beautiful one at that. There is an instant attraction.

It's hard enough to be growing up, in charge of your siblings in a strange place and with your mother ill, so Joss is unaware of the rumblings underneath this elegant hotel. For one thing, Zisi was involved in more than a business partnership with Madame Corbet (Claude Nollier) until Eliot came along. Needless to say, Corbet hates him, not to mention the fact that Eliot doesn't like guests in the hotel, so business is down. Zisi is violently jealous of Joss, who has no idea of it. And Eliot's business trips to Paris aren't all that they seem to be either. When he has a violent reaction to having his picture taken and changes his mind about a tour when he sees a policeman, Joss begins to get suspicious.

This is a stunning film about a young woman's first awareness of her affect on men and her first crush, and it's beautifully handled by Gilbert. Eliot never takes advantage of Joss and finds in himself qualities he didn't know he still had, both with her and with the children. Kenneth More has always been a wonderful actor; here is no exception - we get to see a complete, complex human being. Darrieux does a beautiful job as the cold, jealous and somewhat desperate Zisi, watching someone with the youth she no longer has and knowing she can't compete with it.

Ultimately the film belongs to the radiant York who perfectly portrays what it's like to think you're in love, come to hate the person you love with such a passion that it's obviously still love, and the resulting vengeful behavior. She's helped by the honesty of the script - everything rings so true. When Joss finally realizes she has loved and lost, she revels in the pain of it, dancing down the lane - when you're that age, there's nothing like the feeling of sophistication that the misery of love gives you.

One of those great, unappreciated films - perhaps with more showings on TCM, its status will grow.

In the early 1960s there were several movies that put a teen-aged girl into a moral dilemma that was difficult even for people three times her age. But the performances of Jill Haworth in "Exodus," Hayley Mills in "The Chalk Garden" and Merrie Spaeth and Tippy Walker in "The World of Henry Orient" are overshadowed by that of Susannah York in "The Greengage Summer" (1961).

York plays a responsible person who falls in love with a criminal -- a professional thief, played by Kenneth More, who finds her very attractive. She is sixteen, he is in his 40s. Without parents for the summe, she is in charge of her younger siblings; he is single and carefree. But there is no seduction here, from either party.

Susannah York's Joss trembles and blushes as someone ready to throw pride and morality to the wind in the name of love. Kenneth More's Eliot, initially a copy of Charles Boyer's Pepe in "Algiers" (1940), becomes genuinely awkward as he tries to understand her exuberance, and as he rediscovers a pre-criminal sense of honor within himself. The relationship of these two unlikely lovers is erotic, but without the smutty sex we now expect from such cinematic situations, and without the sermonizing or soft-focus slow motion that became fashionable for awhile a few years after this movie and those with a similar theme.

Realistic dialogue and lush background scenes are juxtaposed against embarrassing and unspoken emotions, making this film a haunting exposition.

Kevin Cisneros

The alternative title for this film is The Loss of Innocence, which sounds deceptively exploitative. It is however an appropriate description of a charming yet sinister film.

The film is set in the Champagne Country in France, so we get some lush views of the French countryside and even a look into the champagne caves. That alone would probably be enough for some people but we have a great story too: four children (for those who read the book, the character of Cecil has been merged with Hester) are left on their own in a grand hotel in France when their mother gets taken ill. Thirteen-year-old Hester, the second eldest, takes charge of The Littles (their name for the two young children) as she has the best knowledge of French, but it is the eldest child, sixteen-year-old Joss, that blossoms almost overnight. Her beauty captures the heart of their unofficial guardian, middle-aged Englishman Eliot, and Joss soon becomes entangled in a love triangle between her, Eliot, and co-owner of the hotel, Madame Zizi. Further complications arise when Eliot proves himself to be untrustworthy, perhaps even criminal...

The novel has been diluted in the transition to film. The novel's equivalent of Hester, Cecil, is the narrator of the novel, so we see her sister's sexual awakening through her eyes. Cecil also undergoes a transition into womanhood, however all hints of this are eradicated in the film. Whether this is due to time restrictions or trying to please the censors is unclear. The focus of the film is on Joss and her coming-of-age. Fans of the book may be disappointed that Susannah York does not have the exotic dark beauty that Joss is supposed to have, but she is suitably pretty and passes as a sixteen-year-old who is just turning into a woman. She also resembles Sue Lyon in Lolita, which came out in the same year, and the two films have some similarities in that relationship. Kenneth More is a bit old to play Eliot so one might have to stretch their imagination to believe that Joss fancies him. He also doesn't have the suaveness or mysteriousness of Eliot in the novel. However he does have a chirpy charm and works well with the children. A mention should also go to Jane Asher, who plays Hester's curiosity of the adult world very effectively.

Although the film does not capture the darkness and perfection of the novel, it remains a nice exploration of the process of growing up.