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.
'Separate Tables' for all those reasons and how Rattigan brings emotional and psychological complexities to real life situations is classic Rattigan, to me one of his best. This 1958 film does it justice. Other adaptations of Rattigan did better jobs at opening out the source material, notable examples being 1951's 'The Browning Version' and 1948's 'The Winslow Boy', but keeping things confined here in 'Separate Tables' was in keeping with the characters' situations without being too stagy.
The weakest element of 'Separate Tables' is that while Rod Taylor and Audrey Dalton are appealing their material isn't as interesting or as meaty as that for the rest of the characters. Otherwise there is little to complain about.
Rattigan's writing shines brilliantly in 'Separate Tables', to me he was one of the great playwrights/writers of the 20th century who didn't deserve to go out of fashion (or so that seems to be the case). It has so much intelligence, insight, meaty complexity, emotional impact and the odd bit of humour (though much of the play bases itself around a serious subject). Is the film talky? Sure. Then again as was said for 1948's 'The Winslow Boy', the play is talky and Rattigan in general is talky.
As well as clever, consummate storytelling, it's melodramatic but in an incredibly insightful, intricately intimate, honest and poignant way that tells so much about the characters and their situations, the film doesn't get overwrought or overheated and the ending is one particularly powerful scene.
Production values are handsome, and wisely kept simple rather than going for big, grand, lavish spectacle that would most likely have been overblown and swamped the drama and characterisation which would have wrecked things completely. Didn't think that Delbert Mann's direction was bland at all, it's restrained and low-key but always assured.
One cannot not mention the wonderful casting. Although not having the strongest characters, Taylor and Dalton are still good, but the more well-known names in more interesting roles dominate. David Niven received an Oscar for his performance here, despite his screen time not being long judging from his moving performance of a seemingly blustery character who darkens vastly in demeanour it was deserved. Deborah Kerr's performance as a meek, mousy character is deeply felt, she avoids too being too meek to be bland. Wendy Hiller is understated and sympathetic.
Burt Lancaster has fun while also bringing intensity and vulnerability. Rita Hayworth, one of Hollywood's most glamorous beauties, has rarely been more heart-wrenching. One can't forget the superbly domineering Gladys Cooper either.
Overall, a beautiful film and as good a film adaptation of 'Separate Tables' as one would find anywhere. 9/10 Bethany Cox
'Separate Tables' for all those reasons and how Rattigan brings emotional and psychological complexities to real life situations is classic Rattigan, to me one of his best. This 1958 film does it justice. Other adaptations of Rattigan did better jobs at opening out the source material, notable examples being 1951's 'The Browning Version' and 1948's 'The Winslow Boy', but keeping things confined here in 'Separate Tables' was in keeping with the characters' situations without being too stagy.
The weakest element of 'Separate Tables' is that while Rod Taylor and Audrey Dalton are appealing their material isn't as interesting or as meaty as that for the rest of the characters. Otherwise there is little to complain about.
Rattigan's writing shines brilliantly in 'Separate Tables', to me he was one of the great playwrights/writers of the 20th century who didn't deserve to go out of fashion (or so that seems to be the case). It has so much intelligence, insight, meaty complexity, emotional impact and the odd bit of humour (though much of the play bases itself around a serious subject). Is the film talky? Sure. Then again as was said for 1948's 'The Winslow Boy', the play is talky and Rattigan in general is talky.
As well as clever, consummate storytelling, it's melodramatic but in an incredibly insightful, intricately intimate, honest and poignant way that tells so much about the characters and their situations, the film doesn't get overwrought or overheated and the ending is one particularly powerful scene.
Production values are handsome, and wisely kept simple rather than going for big, grand, lavish spectacle that would most likely have been overblown and swamped the drama and characterisation which would have wrecked things completely. Didn't think that Delbert Mann's direction was bland at all, it's restrained and low-key but always assured.
One cannot not mention the wonderful casting. Although not having the strongest characters, Taylor and Dalton are still good, but the more well-known names in more interesting roles dominate. David Niven received an Oscar for his performance here, despite his screen time not being long judging from his moving performance of a seemingly blustery character who darkens vastly in demeanour it was deserved. Deborah Kerr's performance as a meek, mousy character is deeply felt, she avoids too being too meek to be bland. Wendy Hiller is understated and sympathetic.
Burt Lancaster has fun while also bringing intensity and vulnerability. Rita Hayworth, one of Hollywood's most glamorous beauties, has rarely been more heart-wrenching. One can't forget the superbly domineering Gladys Cooper either.
Overall, a beautiful film and as good a film adaptation of 'Separate Tables' as one would find anywhere. 9/10 Bethany Cox