The Go-Between

One can understand the BBC's desire to remake "Cider with Rosie" and "Lady Chatterley's Lover", and perhaps even "An Inspector Calls", although the last has at least two fine filmed versions, but their decision to remake "The Go-Between" was a misguided one.

Jospeh Losey's 1971 version is one of those rare occasions in which everything seemed to be right - a top notch cast, beautiful cinematography, a terrific Michel Legrand score and a superb Harold Pinter screenplay. L. P. Hartley himself was moved to tears after seeing the film. So then why remake it? How could it possibly fare in comparison?

This television version does not even begin to compete with its predecessor. Adrian Hodge shows little faith in his audience forgoing any subtlety in his dialogue and general characterisation. The cast are a pale and uncharismatic bunch.

Seek out Hartley's novel and Losey's film - they are masterpieces. Skip this one.

I am, more often than not, left disappointed when my favourite literary classics are adapted for television or the big screen, and while this BBC production of LP Hartley's novel is not perfect, it does better than most.

The drama begins with a crushed, sorrowful looking older Leo (Jim Broadbent) travelling on a train to Norfolk, the scene of his foreign past. He imagines his younger self, (Jack Hollington) who accuses him of being a "Dull Dog." The older Leo then lays the blame for him being this "creature of ashes and cinder" squarely on the shoulders of his younger self. I found it to be a clever, and moving way of beginning the story.

We then travel back fifty years in time to the scorching summer of 1900 and the characters that would haunt Leo into his old age.

Leo spends his holidays at the country manor of his upper-class friend Marcus. (Samuel Joslin) It is here that he meets the beautiful, but manipulative and selfish Marian, (Joanna Vanderham) who he becomes instantly besotted with. He then becomes a postman of sorts, as he delivers love letters between Marian and her bit of rough, the tenant farmer Ted Burgess. (Ben Batt)

Over the course of the summer, Leo feels increasingly uncomfortable and guilty about ferrying these correspondence, which he now knows aren't just "normal letters," back and forth. The engagement of Marian to the landlord, war hero, and thoroughly decent Trimingham (Stephen Campbell Moore) increases Leo's torment even further.

I found it to be well directed, beautifully shot, with picture perfect locations. The performances were excellent throughout, especially from Master Hollington as young Leo. His acting was subtle, natural, intuitive and he had a charismatic presence that you could not take your eyes off of. One to watch out for I would say.

At times it felt a little rushed, especially at the end where Broadbent returns as Leo, Batt as Marian's grandson, and Vanessa Redgrave plays the part of an older Marian. That is just a small complaint though. Overall, I found it to be a very moving adaptation of my favourite LP Hartley novel

A wonderful well cast and moving theme. Leo (Jack Hollington) held centre stage with almost cameo performances from Jim Broadbent and Vanessa Redgrave. Set in 1900, just one minor error on the soundtrack - a Collared Dove cooing in the background on a quiet summer's day - this species of dove didn't arrive in the UK from the Middle East via Europe until the 1960s!

Leo recounts his life, the Summer of 1900 had a huge impact on his life, when as a 12 year old he went to stay with School friend Marcus and his family. Since that Summer Leo has lived in the Shadows of the past. Leo is enchanted by the beautiful Marian, she recognises that Leo is from a humble background, and as they are surrounded by such wealth she takes pity on him and treats him to new clothes. Her motive for doing so though was to sneak off and meet with someone. Whilst out playing Leo heads to the farm owed by Ted Burgess, Leo falls and gets patched up by Ted, Leo offers a favour in return, he is to carry a message back to Marian. Young Leo becomes the go between for the two who are conducting a secret love affair,carrying messages back and forth. Marion's engagement to the Wealthy Viscount Trimingham is announced and the love triangle seems doomed.

A true tale of class and forbidden love, this was a glowing adaptation, it's been a long time since I saw the 70's version, but this was excellent. A definite bright future ahead for young Jack Hollington (Leo) he managed to outshine a totally wonderful cast, he was just incredible, a hugely talented young man. It's brilliant acted by all, but Lesley Manville should get a special mention as the cold Mrs Maudsley.

Favourite scene for me had to be the discussion between Leo and Marian, when as a confused youngster he can't understand why Marian couldn't marry her true love Ted. It was just wonderful.

The scene of Mrs Maudsley bullying Leo into divulging the secret place of assignation between Marian and Ted was tough to watch.

You cannot help watch this and help feel sad for Leo, manipulated by both Marian and Ted, both used him badly, Trimingham treated him very well and knew all along what was going on, never once turning on Leo.

Bravo BBC 9/10

Pete Travis's production is visually breath-taking, with Felix Wiedemann's camera creating a prelapsarian world of turn-of-the- century Norfolk full of bright sunshine and vivid colors of green, yellow and orange. Interior scenes are shot close to large windows flooded with light and illuminating the protagonists' faces; set- pieces such as the cricket match contrast the russet wood of the pavilion and the cricket bat with the off-white garb of the bourgeois players. Leo (Jack Hollington) and Ted Burgess (Ben Batt) are photographed in medium close-up in rolling fields, making it seem as if they inhabit the natural world around them. This use of visual imagery emphasizes the apparently unchanging qualities of the late Victorian/ Edwardian world on which, quite simply, the sun never seems to set; class-differences are firmly entrenched and everyone seems outwardly happy with their lives.

The visuals provide a suitable framework for a tale that puts the stability of this world into question as Ted Burgess conducts a clandestine love-affair with bourgeois Marian (Joanna Vanderham), who is at the same time engaged to her social equal Hugh Trimingham (Stephen Campbell Moore). Director Travis makes much of the social gulf between the two lovers: Marian inhabits a world of parties, croquet matches and formal meals, policed by her mother (Lesley Manville), while Ted leads a solitary life on the farm, caring for his horses and bringing in the hay in late summer. When the two milieux collide, after the cricket match has finished, the bourgeois characters are thoroughly uncomfortable. Mrs. Maudsley looks apprehensively round the room at Ted's social compatriots as they quaff their ale and sing songs, while Trimingham puts on an air of false bonhomie, even though it's clear he'd rather be somewhere else.

In such a socially stratified world, it's obvious that Marian and Ted's love-affair is doomed to failure. Yet neither of them appear to understand this; they prefer to write letters to one another, using Leo as their unwitting messenger. What becomes clear from Travis's production is the extent to which the adults' behavior is governed by self-interest; neither Marian nor Ted have any real concern for Leo's feelings as they repeatedly put emotional pressure on him to carry out their wishes.

Looking back on that summer fifty years later, it's hardly surprising that the adult Leo (Jim Broadbent) should view it with a jaundiced eye. It was chiefly due to Marian and Ted's machinations that Leo ended up emotionally stunted, unable to sustain a relationship to any great depth.

The ending, it must be admitted, seems a little rushed, as the adult Leo encounters the aging Marian (Vanessa Redgrave), who encourages him to set aside his resentments and start to love those around him. Shot in a series of shot/reverse shot sequences, we see Leo's stern countenance gradually relaxing as he understands the truth of Marian's words. In terms of what we have previously seen, however, it seems slightly implausible that he should undergo such a rapid change of character.

Nonetheless Travis's production ends satisfactorily with the younger and older Leo shown together in two-shot against a rural backdrop. At last it seems that Leo has come to terms with his past; it is no longer a "foreign country," as Hartley describes it at the beginning of the source-text.

This version of THE GO-BETWEEN tells the tale in a straightforward manner with due recognition of the social class-divisions that inhibit the characters' reactions. Definitely worth watching.