Cubussoli Very very predictable, including the post credit scene !!!

Platicsco Good story, Not enough for a whole film

Comwayon A Disappointing Continuation

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

ianlouisiana Mr.S.Baker as a resentful and bloody - minded Detective represents the old time coppers who moved through the ranks on merit. No University Entrant he,fast - tracked for promotion to the highest command. Welsh working - class,veteran of a hundred pub fights,"hard" stops and years of listening to weaselly criminals deny everything until a quick slap brings them to their senses,he is ill - equipped to take on Establishment figures determined to muddy the waters in a murder investigation.Nowadays we would expect no less but in 1959 it was still a bit of a revelation that our betters should conspire to protect their own at the expense of some prole who would never amount to anything,wasn't a Mason and didn't belong to the right clubs. Mr H.Kruger -who had a brief but glorious career in British pictures as a "Good German" despite his Nazi credentials - plays a Dutch artist who is the first and initially only suspect in the murder of his mistress(Miss M.Presle) but as Mr Baker digs around it becomes apparent that he is being denied access to any other line of enquiry. The Establishment,the exemplars of privilege,power and corruption are closing ranks to prevent him getting at the truth. He is cajoled,he is threatened,but he is grimly determined to get to the truth. Seen on the other side of the fence in Losey's later,"The Criminal",Mr Baker has anger and energy to spare and a clear idea of who's side he is on. "Blind Date" is heart on sleeve time for the director and his leading man. Sadly Mister Losey's efforts to reveal upper - class malfeasance were met with political indifference and nearly sixty years later the police are just as spavined by politicians as they were then. The only difference is you've got to have a degree,apparently.Which is nice.

sevisan The DVD I bought via amazon.uk is "cheap" and has not any kind of subtitles. I read English well, but I don't understand spoken English very fluently. So, I didn't feel very comfortable with this item (or must I put the blame on the film itself?). Main assets: ChristopherChallis cinematography, Micheline Presle, intelligent use of the sets. Main weakness: absurd script (Kruger does not recognize the dead woman, his character is sometimes hippie sometimes "macho", the "establishment gentlemen" wear black suit and bowler hat, and Baker has sinusitis). Definitively, Losey did better than this one.

genet-1 BLIND DATE starts out hampered by a misleading title and the miscasting of the key female role. The meeting in the Tate Gallery between penniless Dutch painter Hardy Kruger and French bourgeoise Micheline Presle is no blind date, but, superficially at least, a simple pick-up - the "chance meeting" of the film's US title. As for Presle, her advances to Kruger appear gauche, even desperate, with none of the allure that would be needed to snare him. A better actress might have accepted that her character would, in that situation, appear clumsy, and play on that, but Presle lets the lines do the work. The film only picks up with the appearance of Losey's preferred male lead, Stanley Baker, as the detective Morgan. With a broad Welsh accent, and troubled by a cold that has him sniffing repeatedly on an inhaler, Baker sketches out the role he would play with increasing assurance in later collaborations with Losey like HELL IS A CITY, EVA and ACCIDENT - a working-class outsider, in revolt against the elite of which he secretly wishes to be part, but which he knows will never accept him. Any strength in BLIND DATE resides in the confrontations between a disheveled, snuffling Baker and the Scotland Yard establishment, represented by three-piece-suited Robert Flemyng and his equally suave subordinate, John van Eyssen. By stressing that Morgan's father was a chauffeur and Kruger's a miner, Losey decisively places both on the opposite side of the social divide from these two, not to mention the awkward, chilly Presle. In a brief but significant scene, Flemyng, having hinted to Baker, none too subtly, that he should frame Kruger if he ever wants promotion, encounters van Eyssen in the corridor and reminds him they'll be meeting socially over the weekend. By contrast, Kruger and Baker languish in the cultural ghetto with losers like Gordon Jackson's PC Plod and Jack McGowran's furtive "nudge-nudge-wink-wink-know-what-I-mean?" postman. The film hammers home this point with its set design, in particular that of Baker's office, a draughty attic with exposed waste-pipes running down the wall. The office, along with Baker's clothing, advertises the fact that, by exposing the real murderer, he has incurred permanent banishment from the circles of power. Losey's supposedly socialist principles are seldom apparent in his films, which are mainly calculated exercises in style, but in BLIND DATE at least he appears to pin his left-wing colours to Baker's crumpled sleeve.

writers_reign For French star Micheline Presle this movie must have emitted the faint aroma of deja vu; twelve years before she had starred in a French classic Le Diable au corps (Devil In The Flesh) in which she was the love object of a much younger man, as is the case here, but there the comparison ends. Le Diable au corps reeked Class, from the writers, Jean Aurenche and Pierre Bost, through the director, Claude Autant-Lara, to Presle's co-star, Gerard Philipe; match that with their equivalents here and it's not even funny, we're talking Bush League and/or Second Eleven depending on whether you take your metaphors from baseball or cricket. I suppose the likes of Stanley Baker, Hardy Kruger, Gordon Jackson etc, do their best but alas, their best is light years away from the best of Aurenche, Autant-Lara and Philipe. One to see only for Presle, a class act in whatever language.