Saturday, 13 June 2009

Room at the Top
(1959)

100%

Each Man Kills the Thing He Loves

Lower-class chip on the shoulder type – well played by Laurence HARVEY – nevertheless possesses the necessary moral toughness to succeed. Yet, inside, he is as ultimately timid as the social snobs he so vigorously opposes; making his victory more material than spiritual.

The feline sexuality of Simone SIGNORET steals the show as HARVEY's doomed older lover. She is an actress who can say so much with so few physical movements that she appears not to be acting at all. Her stillness masks the anguish and torment of a woman torn between a loveless marriage and a restless lover whom she knows will eventually trade her in for a younger model.

The film successfully explores the paradox of trying to disregard class consciousness by being very class conscious itself. Its endless talk about how old fashioned class consciousness is proves how pervasive and how difficult to overcome it really is.

This extremely well-cast movie grabs you from the very beginning and never lets up. Even the smallest role is played by someone who was to become more well known later: Miriam KARLIN, Prunella SCALES, Wendy CRAIG, Derren NESBITT, et al. All of the scenes are properly blocked and so all the more tense and exciting; while Jack CLAYTON's direction brings out all of the emotions of this superior melodrama. Excellent entertainment for grown ups.

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Science:



No science is immune to the infection of politics and the corruption of power.



Jacob Bronowski… (1908 - 74), British scientist, author. Encounter (London, July 1971).


Sleep of Reason:



The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.



Francisco José de Goya y Lucientes… (1746-1828), Spanish painter. Caption to Caprichos, number 43, a series of eighty etchings completed in 1798, satirical and grotesque in form.


Humans & Aliens:



I am human and let nothing human be alien to me.



Terence… (circa 190-159 BC), Roman dramatist. Chremes, in The Self-Tormentor [Heauton Timorumenos], act 1, scene 1.


Führerprinzip:



One leader, one people, signifies one master and millions of slaves… There is no organ of conciliation or mediation interposed between the leader and the people, nothing in fact but the apparatus - in other words, the party - which is the emanation of the leader and the tool of his will to oppress. In this way the first and sole principle of this degraded form of mysticism is born, the Führerprinzip, which restores idolatry and a debased deity to the world of nihilism.