INTIMATE STRANGER/ FINGER OF GUILT
UK, 1956, 95 minutes (original), 85 minutes (Finger of Guilt), Black and white.
Richard Basehart, Mary Murphy, Constance Cummings, Roger Livesy, Faith Brook, Mervyn Johns, Basil Dignam.
Directed by Joseph Losey (as Alec C. Snowden).
Directed Joseph Losey had made a mark in the United States with such films as The Boy with Green Hair but refused to testify at the House of Un American Activities hearings and moved to the United Kingdom where he made several films under an assumed name, including this film and The Sleeping Tiger. Later in the 1950s he was to establish himself as a significant director in the UK with a number of films with Dirk Bogarde including The Servant.
This story of an American producer who has been involved in marital scandal in the US and has moved to Britain for a new start has echoes of Losey’s own experience, the marital problems here symbolising his political difficulties. The screenplay was written by Howard Koch under the pseudonym Peter Howard – Koch also being a significant screenwriter in the US.
This is the story of the producer, played with earnest anxiety by Richard Basehart, who has been given a chance in the UK by the owner of the studio, played by patriarchal Roger Livesy, and who has married his daughter, Faith Brook. He has big plans for an expensive and showy film with an international star, played by Constance Cummings, which the patriarch does not approve of. He is supported by his loyal editor and bookkeeper, played by Mervyn Johns.
The centre of the story is his being stalked by an American actress living in Newcastle, played by Mary Murphy. She writes letters, she phones, she speaks about events which never happened and has a detailed knowledge of the producer. He discusses it with his boss, with his wife, eventually going to Newcastle to confront the woman who keeps up her story of their affair even to the police.
The producer is concerned, goes to see a doctor, finds that the production is closed down, his wife has gone back to live with her father, and that he is to take long leave.
While it is rather contrived, it is still very enjoyable for an ending when he sees the young woman on the set, follows her, discovers her collusion with the editor, exposes him – and is finally justified. Given his past, he does make a final comment that he deserved this young woman and her attentions and trouble.
1. An interesting drama of an obsessive fan and its effect on the film producer pursued? The unravelling of the plan, and the truth?
2. The work of the director, the writer, their experiences in Hollywood, the Black List, being pursued, working anonymously in the UK? Their insights into the film industry, the 1950s, US and UK – and the plot as a variation on their experiences?
3. The London settings, homes, the studios, offices, the sets? The visit to Newcastle, the streets, homes, police precincts, pubs? The musical score?
4. The title? The original title for the British version? The current version for the United States and the alternate title, Finger of Guilt, shorter running time?
5. The opening, Reggie and the doctor, the examination of his eyes, his concern about his mental health? The flashbacks?
6. Reggie’s story, his inappropriate behaviour in the United States, the affair with his boss’s wife? His relocating to the UK? Receiving support from Ben, working as a producer, his big budget plan for Eclipse, getting the international star, Kay Wallace, discussions with the writer, the director, Ben and his disapproval of the showiness, the big budget? Ernest and his presence, his criticisms, managing the budgets?
7. Reggie and the letters from Evelyn, his shock, discussing the issues with Ben, explaining to Lesley? His staff and their awareness? Letters and phone calls? His dilemma, trying to tell the truth, Ben and disbelief, Lesley and the coldness of the meal, her disbelief? The wisdom in going to the police or not? His final exasperation, asking Lesley to go with him to Newcastle? In Newcastle, the landlady and her explanations, that she had never seen him? Evelyn and her returning, her stories about New York, her job, English television, falling in love with Reggie, following him to England, to rendezvous moments, her performance, her acrid knowledgeable details, even his drinks – and seen in retrospect?
8. Reggie, searching the flat, concealing his picture? Lesley and her upset and leaving? Reggie, taking Evelyn to the police, the inspector and his interrogation, her answering all the questions, the police seeming to believe her? Reggie, the wisdom of not pressing charges, wandering the streets, Evelyn and her pursuit, going to the pub, Lesley seeing them and driving off, the drink, the talk, walking her home, the kiss and her reaction?
9. Reggie’s return, Ben and the meetings, shutting down the film, going to seek Kay, her being glad to leave the film, offering a shoulder to cry on, her past relationship with Reggie and her disappointments? Reggie and his being advised to take leave?
10. Reggie, packing, wanting to say goodbye to Ben, seeing Evelyn from the window, following her, going to the set, Ernest and his editing the war scene, Evelyn going to discuss with him, then arriving, Reggie present, the microphone on, the hearing all the explanation of Ernest and his setting her up, her behaviour? Reggie and the spotlight on Ernest, the fight with him? Evelyn trying to escape from the set, all the gates locked?
11. Reggie, going to see the doctor, his mental condition? Worrying about his having a separate personality? The final resolution, Ben and his support of him, Kay and Lesley coming in the car?
12. The final comment by Reggie that he deserved a person like Evelyn? And Ben admitting the same?
