Hadrina The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Skyler Great movie. Not sure what people expected but I found it highly entertaining.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

TheLittleSongbird After watching the Terence Rattigan DVD collection (with most of the adaptations being from the 70s and 80s) when staying with family friends last year, Rattigan very quickly became one of my favourite playwrights and he still is. his dialogue is so intelligent, witty and meaty, his characterisation so dynamic, complex and real and the storytelling so beautifully constructed.'The Browning Version' is a defining example of Rattigan at his finest. As said in previous reviews for the adaptations part of the Terence Rattigan DVD collection, is also at his best when laying bare deep emotional and psychological strains in his principal characters within a skillful dramatic framework. 'The Browning Version' epitomises that as well as everything that makes me love Rattigan's work so much. Was bowled over by this near-perfect 1951 film.Not only is it the definitive version of the play but to me it is also one of the best adaptations of any of Rattigan's work, film or television. The only thing that rang false was despite Crocker Harris' very powerful, lump in the throat and tear welling departure speech how it concludes so optimistically after everything that happened in the rest of the film, it just seemed so contrived.Can't say anything wrong with anything else though. The best things about it are the script and the performance of Michael Redgrave, the aspects that one remembers long after the film is over. The script benefits hugely from the involvement of Rattigan himself and from him extension, his superb writing, dynamic between the characters and consummate attention to very complex characterisation shine through wonderfully here and really keeps things afloat.Redgrave is simply mesmerising, he has never been better and his performance is nuanced, at times stern and cold but extremely moving, there is self-pity here but done with incredible dignity. He's not the only good actor. Jean Kent's heartlessness as Millie is very chilling, if she comes across as a character with no redeeming qualities or weaknesses that is the film taking the right approach with a character that is meant to be like that. Nigel Patrick is suitably cocky, while Wilfred Hyde White steals scenes and Brian Smith is a winning Taplow.Anthony Asquith's direction never allows the action to become stage bound. The gentile shabbiness of the school is captured neatly but never pat as is how all the different woes come over so mercilessly, which is what makes the drama so poignant and haunting. The story is basically an introspective character study and in terms of detail and emotional impact it's remarkably rich and subtle. There are standout moments such as the emotional turning point for Crocker Harris and the departure speech.Cinematography is beautifully done and the set and costumes are handsomely produced. Good music from Arnold Bax as well.In summation, a wonderful film and an example for any future Rattigan adaptation, especially for a play as good as 'The Browning Version'. 9/10 Bethany Cox

davidallen-84122 Exactly how does one begin to follow all the erudite reviews already submitted ? I can only echo everything positive already written,in praise of this classic film and it's leading man, Sir Michael Redgrave.How well I recall my introduction to "The Browning Version",on T.V. in1966. Such was my involvement with Andrew Crocker-Harris and his pitiful existence, that the gesture of kindness from Tapwell and the effect it had on his master,quite disarmed me.In the following scene,where Harris trustingly shared his experience with Millie,her cruel rebuff had me almost jumping out of my chair in anger.The poor man's last vestige of dignity had been stripped from him. Ten years later,in 1976,down here in Auckland,I was indeed fortunate to meet Sir Michael,up close and personal,following his live performance in "Shakespeare's People".As I stood trembling,all alone,at the gloomy stage-door of His Majesty's Theatre (sadly,later demolished),I wondered how I was going to address this knighted legend of stage and screen.Finally, the man himself appeared before me,looking pale and tired (I believe he was already in poor health).Sir Michael fixed his gaze on me but spoke no words, leaving me to warble on,nervously singing his praises.I do remember telling him how his performance in "The Browning Version" had continued to haunt me through the years.Despite the very dim light,he graciously granted me his autograph which I treasure to this day,along with his photo and several of his best films on DVD.To affirm Sir Michael's incredible versatility,just view "The Browning Version","The Importance Of Being Earnest"and "The Dam Busters", in that order.You don't get much better than that.

Claudio Carvalho In a British school, the conservative and emotionless Latin teacher Andrew Crocker-Harris (Michael Redgrave) has a heart problem and is forced to retire. His unfaithful wife Millie (Jean Kent) is having a love affair with his colleague, the science teacher Frank Hunter (Nigel Patrick), and he is hated and despised by the students, fellows and the direction of the school. His pupil Taplow (Brian Smith) is studying with him the tragic Greek poem The Agamemnon, expecting to be promoted at school. On his last days at school, Crocker-Harris is informed by the headmaster that the board refused to pay his pension plan for earlier retirement and he realizes that he is a failure as a teacher and a man."The Browning Version" is a heartbreaking British film based on a play that tells the story of a teacher without emotions that is hated and betrayed and in the end is helped by his pupil, his replacement and even by the lover of his wife to react to the situation and "live" again. The performances are top-notch and the depressive story is another great British film about the relationship between teacher and student (the other is "To Sir with Love"). My vote is seven.Title (Brazil): "Nunca te Amei" ("I Never Loved You")

moonspinner55 Terence Rattigan adapted his acclaimed one-act play about a humorless professor at a British school for boys realizing some awful truths about his life on the eve of his retirement from the institution: his embittered wife holds him in contempt (and has been carrying on an affair with one of his fellow teachers), while the headmaster of the school cannot wait to sweep him under the carpet. Michael Redgrave gives great shading to this lanky man with the puny spirit; though, at times, the actor sounds as if he's just swallowed John Gielgud, he is nothing short of fascinating to watch, even in the climactic moments when this adaptation becomes a curiously showy piece of grandstanding for the character. The relationship between Redgrave's Crocker-Harris and his students is left a bit unclear; they tolerate him and complain behind his back, but we don't sense the sort of give-and-take which would make the finale plausible. Jean Kent (as Mrs. Crocker-Harris, with her condescending eyes), handsome Nigel Patrick, and young Brian Smith are excellent in support. Remade in 1994 with Albert Finney in the lead. **1/2 from ****