Jack Gold made his name on British television and "The Reckoning", which he made in 1970, often has the feeling of television drama about it and this is both something of a compliment and a curse in that, while it often displays a certain intelligence in its handling of the relationships on view, it is also blighted by a shooting style more in keeping with the small screen than the large.
It is adapted by John McGrath from Patrick Hall's novel "The Harp that Once" and centres on working-class Liverpool lad Mick Marler, who has made it big in the world of London business and who has returned home for his father's funeral. It's a strange, somewhat schizophrenic film, part thriller and part character study, reasonably entertaining on one level and yet constantly misfiring. Nicol Williamson, who plays Marler, was at the time considered to be the finest stage actor of his generation but you would never guess it from his performance here. It's an hysterical, over-played piece of acting; a juicy slice of ham and he's virtually never off the screen. He's half sympathetic anti-hero and half hissable villain and he plays to the gods. It's left to Rachel Roberts in the much too small a part of an oversexed doctor's receptionist to walk off with the picture. She certainly looks like she's enjoying herself and is having a grand time upstaging the male lead. Other fine actors like Paul Rodgers and Ann Bell are wasted. A curio at best.
It is adapted by John McGrath from Patrick Hall's novel "The Harp that Once" and centres on working-class Liverpool lad Mick Marler, who has made it big in the world of London business and who has returned home for his father's funeral. It's a strange, somewhat schizophrenic film, part thriller and part character study, reasonably entertaining on one level and yet constantly misfiring. Nicol Williamson, who plays Marler, was at the time considered to be the finest stage actor of his generation but you would never guess it from his performance here. It's an hysterical, over-played piece of acting; a juicy slice of ham and he's virtually never off the screen. He's half sympathetic anti-hero and half hissable villain and he plays to the gods. It's left to Rachel Roberts in the much too small a part of an oversexed doctor's receptionist to walk off with the picture. She certainly looks like she's enjoying herself and is having a grand time upstaging the male lead. Other fine actors like Paul Rodgers and Ann Bell are wasted. A curio at best.