Jun. 14th, 2014

millionreasons: (photo)
On Tuesday, we went to see Another Country at Trafalgar Studios. I didn't realise that it is the 30th anniversary of the film (released June 1984), until I dug out the DVD to watch it for the 98th time. I always get something new each time I see it. This time: Guy already acts like a spy, not just with his subterfuge, but the physical act of spying on Harcourt, the passing of notes etc. Also, how it was probably a good thing that Judd was killed by "the bloody fascists" - Hungary, Prague, and Khrushchev would have probably given him a nervous breakdown (I didn't realise that just as Bennett was based on Burgess, Judd was inspired by a communist ex-public schoolboy poet).

Also, how hot Colin Firth was at this point (it's previously always been Rupert Everett's 25 year old beauty that's got to me). I have never been a Darcy-fancier, I always found his face too square and his bad mood face too dour. Coincidentally, I saw the man himself on Wednesday at the Observer Ethical Awards: he is much more attractive in real life, helped by a beautiful smile and sexy glasses.



The play was played far more for laughs than the film, which I see as less of a comedy and more of a Greek tragedy. Bennett was played by a very pretty, louche boy, who camped it up more than Rupert Everett, whose best ability in the film is to give good yearn (those longing looks). Wharton was a bumbling, terrified idiot, too old to be a junior (he was taller than the actor playing Judd), whereas the film has him as an innocent pre-pubescent, to whom Bennett acts in loco frateris - it was still necessary in the '80s to reiterate that homosexuality does not equal paedophilia.

The play also showcases the supporting characters. Prefect Menzies is far more a politician: in the film, he seems to be acting in the best interests, or so he thinks, of the house; in the play, he is characterised as saying anything to get what he wants - he declares that he wishes to ban corporal punishment in order to get Judd onside, whilst being all too eager to sacrifice Judd and Bennett when they no longer feed into his ambition (to be Head of House - a young Jeremy Thorpe, perhaps) and current Head of House Barclay's breakdown is more emphasised. I felt for his character's bewilderment and confusion when his values are brought into question, whereas in the film he just seems an impotent leader against the imperious (and imperial) Fowler. The play doesn't cast Bennett's amant, Harcourt (Cary Elwes in the film), which is an odd choice given that Bennett emphasises that he is in love, that James is not just another notch on his dorm-bed, he is someone who causes Guy to act unselfishly, electing to be beaten rather than betray his lover. The punishment is not shown in the play, which somewhat minimises Bennett's downfall: not witnessing his pain and humiliation and defeat takes away the emotional punch when Guy realises he can't play the system, won't be the Ambassador in Paris, can't cheat at the game, is unable to be open in his sexuality, can't win.

December 2022

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