George Sanders sounds a little different in this adaptation of John Galsworthy’s famous story – I’m used to hearing him speak in low, deep, caddish tones. Maybe he was trying to play against type here, even though the lead character is still an upper class type. A good deed sees him convicted of manslaughter, but he escapes and runs into various people – a pretty girl, some old duffer – who’ve all seem to have read about the case in his papers. I think at one time this was supposed to be considered profound – but I couldn’t see much more to it than being about someone who is on the run.
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