Deadfall

Bryan Forbes wrote and directed 'Deadfall' quite late into his acting/directing career, and managed to make a strange yet compelling film, with an interesting cast and two fabulous pieces of music, a guitar concerto and a moody song for Shirley Bassey to sing over the opening credits.

I'm not saying that this film doesn't have its faults. It does. The whole sexuality angle is handled clumsily and could have been much better. Forbes has the tendency to overdo the extreme close-up, and clearly is more at home with odd angles, photographing at strange perspective, and so on, then he is with moving this jewel heist film plot along.

Michael Caine doesn't really make that much of an impression, more or less sulking his way through the picture. Much better is Eric Portman as the ageing jewel thief with a murky past, although I'm not 100% sure he was the best person for the role. However, there are three scenes which are particularly impressive - the break-in and the orchestral concert, shots of both interlinked, and a long time to have a film going with just music and no dialogue; the interlinking between the love scene between Henry and Fe, and Richard reading up on Henry, alone in his lonely house; and the final scene between Richard and Fe, which is very well done on the part of both actors. There's other good photography, notably the end sequences and any sequence Nanette Newman sidles her way through.

I liked it. A bit on the pretentious side, maybe, but I wouldn't dismiss it entirely.

Watched this film tonight on the BBC for the first time. What an unusual film! Written and Directed by Bryan Forbes it certainly added some new twists to the usual thriller plotline. Some odd mixing of plotlines, particularly mixing up sexuality with perversion, which maybe didn't come off too well, but with some brilliant music by John Barry and a belting Shirley Bassey opening titles song this does deliver great entertainment with good direction from Bryan Forbes.

Sure, the late 1960s were a rather permissive time. Nudity and highly realistic violence had crept into films and once taboo topics were becoming more and more commonplace. Still, I think some of the plot elements in "Deadfall" must have shocked a few folks back then. That's because the plot involves more than just burglaries, as one of the main characters is gay---a novel idea for its time.

The film begins with Henry Clark (Michael Caine) in rehab for alcoholism. A pretty lady (Giovanna Ralli) shows up with a business proposition--she knows he's a top burglar and wants him for a job with her husband (Eric Portman). The trio join forces and their goal eventually is to go for a seemingly impossible job--but they do an easier one first. This job does not go smoothly, but seeing this portion of the film is the highlight of the movie.

By the way, although the plot left me a bit cold, the music by John Barry was great and the director's use of intercutting scenes during the first burglary are quite good. Along the line, Caine falls for his new partner's wife. This isn't a major problem, as her husband is gay. But, oddly, she is very loyal to him and won't leave him. However, there is an odd secret--something much stranger afoot that no one except the husband yet knows. What it is turns out to be kind of weird--and leads to a very anticlimactic and depressing ending. All in all, a creative caper film but one that is, at times, very talky and many won't like the downbeat ending. I think it's worth a look--a decent film but certainly not a must-see.

DEADFALL is a lushly photographed suspense story with a cat burglar theme, wallowing in a full bodied John Barry score--especially during the major heist involving MICHAEL CAINE's high climbing bit where he's breaking into a playboy's mansion. Clever editing permits cross-cutting between a concert hall suite and the burglary in progress. GIOVANNA RALLI is the pretty Italian woman married to the mastermind of the burglary--ERIC PORTMAN--an aged homosexual.

After the main burglary, the story sags from mid-point onward with talky scenes between Caine and Ralli where she talks about her failed marriage and revelations of a sordid kind. All of this leads toward a downbeat ending with explanations made that are supposed to be shocking but don't have the desired impact because by then the pace of the film has become too lethargic.

ERIC PORTMAN gets the best lines but the dialog is hardly up to the caliber of Tennessee Williams and that's what is needed here, considering the sort of material the story deals with.

Summing up: Handsomely photographed on locations in England and Spain, it's a so-so crime caper after a solidly suspenseful burglary. The John Williams score is its biggest asset.

After seeing this, I could be persuaded why Caine's is so well known for making dud decisions as to the choice of his films. While comparisons are inevitably made with the earlier and strictly played for laughs Gambit, this is a thief movie with no humour whatsoever and as the film progresses from intrigue to jealousy, and then from drudgery to death.

Overdirected? Most critics say so, but in the main, this was one of the aspects I most liked about the film. An early scene where Caine talks to the a youthful Leonard Rossiter can be noted for the lack of any shot of them both together in conversation. Others however, are sheer melodrama and should never have made it to the final cut.

Interesting for early Caine fans only, as thereafter the attractiveness fades and only the director, Bryan Forbes, nice man as he is, can really be left to carry the can, so to speak. Speeding to a climax which is just plain odd, the film rather leaves too much detail unexplained. While it appears easy to fill in the gaps, not enough time elapses between the final revelations and the dramatic close, to believe that not one of the characters could have really thought sensibly about all of this, and therefore not taken such drastic actions. Bewildering though not without charm.