The Fallen Idol Page #2

Synopsis: Philippe, a diplomat's son and good friend of Baines the butler, is confused by the complexities and evasions of adult life. He tries to keep secrets but ends up telling them. He lies to protect his friends, even though he knows he should tell the truth. He resolves not to listen to adults' stories any more when Baines is suspected of murdering his wife and no-one will listen to Philippe's vital information.
Director(s): Carol Reed
Production: Rialto
  Nominated for 2 Oscars. Another 7 wins & 5 nominations.
 
IMDB:
7.8
Metacritic:
88
Rotten Tomatoes:
100%
NOT RATED
Year:
1948
95 min
$57,745
371 Views


If you'd like another cake, you can...

...go to the counter and change it, Phile.

No.

This is how I see it,Julie.

This, uh, girl you're talking about. | This, uh -

This friend of yours.

She-She... likes the fellow, | doesn't she?

It's real, I mean?

L 'amour?

L 'amour ternel.

The things you say,Julie.

The way you put things.

What I mean is you...

can't break a thing like that.

Not just by going away, | leaving no trace, going home.

She wouldn't be going home.

- Home is here. | - Her own country I mean.

Wouldn't work,Julie.

There'd be her, | as it were you, and...

him, as it were me...

and all that distance between them.

Like this table.

It wouldn't work.

He'd go crazy,Julie...

hoping every time the post came.

Not being able to write.

Oh, he'd - he'd forget.

There wouldn't be much to remember.

For seven months, ever since she came...

...to the embassy, seeing her every day...

Not speaking because of | people looking on.

Like this.

Give it - Give it time,Julie.

- But it's torture. | - What's torture?

- What's he say? | - He says he's had pain too. It soon goes.

But this... girlfriend of yours,Julie. | She doesn't have to go away.

- While there's life there's hope. | - There's always hope.

Things happen. Things change.

People don't change. He's tied.

She wouldn't like him so much | if he didn't feel tied.

I can't believe it.

I can't believe we'll go out of here...

...and say good-bye | and never... - Careful.

Have you got a handkerchief?

No.

No. Have you got one, Phile? | She's got something in her eye.

- Mine's clean. | - Well, let her have it, Phile.

Pull the top bit over the other one. | That's what I always do.

There -There's nothing | fixed yet, is there?

The -The boat I mean.

- The day after tomorrow. | - Monday?

Can I have this one too | if you don't want it?

They couldn't stand it forever, | meeting in tea shops and cinemas.

All the difficulties and lies.

- He's not that kind of man. | - What kind of man is he?

Good and kind.

- Can't hurt anyone. | - What a fool the man is.

That's what I think too.

- Here's your handkerchief, Phillipe. | - I've got to see you tomorrow,Julie.

It's no good. | You've got to take him home now.

Listen. I'll ring you somehow. | There's so much I have to say.

It's all been said over and over again.

- Good-bye. | - I don't know what to do.

You don't need to do anything.

Nothing.

She does make a fuss | about her friend, doesn't she?

Can I have some tea in my milk?

It's sad about her friend, isn't it?

Is Julie your niece or something?

- How much is that, please? | - One and eight pence.

The cup that cheers.

Come on, Phile.

- I'm sorry I gave you a start.

That's all right, Phile.

- Is that car a Ford? | - I didn't see.

Oh, look. | There's your niece again.

Look. I'll speak to her tonight.

I'll say to her, "What's the use? | You and I don't get on anymore. "

And then I'll tell her everything. | Perhaps she'll see it.

She'll never let you go.

She might. Anyway, we've one last day.

I must see you tomorrow. | Just the last time.

I'll telephone you.

- Promise? | - Baines, it is a Ford.

I promise.

Oh, look. | There's Mrs. Baines on the balcony.

Need we go in yet?

Listen, Phile. I -

I don't want you -

I don't ask you to say | what isn't true, but...

there's no need to mention | to Mrs. Baines that you metJulie.

- Is it a secret? | - That's right, Phile. Our secret.

You see, Mrs. Baines - | She - She doesn't likeJulie.

It was stupid of me to | meet her so near home,

but I'd got to see she was all right.

Of course you had. | You can trust me, Baines.

Mrs. Baines'll get it out of you | if she can.

Oh, I'll never let you down, Baines.

Funny, isn't it? Julie | working for the embassy

and all this time she was your niece.

Yes. It's a scream.

Need we go in yet?

- Come on, Phile. | - Take me for a walk in the park.

Here. Phile.

Give me your handkerchief.

It's things like that give secrets away.

Isn't it exciting, Baines?

Good night, Macgregor.

Bonsoir.

Oh. What are you doing?

Just looking.

- What at? | - Nothing.

I suppose you were doing nothing | this afternoon -you and Mr. Baines.

- Well? | - No.

We'll see about that later.

Come along now. | Off you go.

I've got work to do. Come on.

Now what are you waiting for? | You can see I'm busy, can't you?

Get along with you. Downstairs. | Hurry up.

Come down from there! | Get down at once!

No. No, don't. | No. You wait. Wait, wait, wait.

Master Phillipe, | come away from there at once.

Do I have to come and drag you away?

Right. Come here. | Do you hear me? Give me your hands.

Oh, now look what you've done.

And all over my shoes. | Dirt. Nothing but dirt.

No. No. No, you don't. It stays there. | Stay there for your mother to see.

Show her the sort of tricks | you get up to.

Get along. Don't ever let | me find you on there again.

I'm sorry.

Just for that, you | shall have your supper in

the nursery. Your tray's | downstairs. Go fetch it.

- I'm sorry. | - And no more chatting with Baines.

Take your tray and go straight upstairs. | I'll fetch it later.

She knows we were out, | but I haven't told her a thing.

Just slip along upstairs now, Phile.

She told me to fetch my tray. | I've got to have it upstairs.

There it is.

I put Macgregor to bed. | She nearly caught me.

Phile, I'd say I'm sorry about it.

- You know. Lunchtime. | - Hmm.

If my mother does | come back on Monday,...

...it won't make any | difference to us, will it?

Not a bit.

I'm sorry I said I hated you.

It's all right.

I said you weren't to take him out.

I didn't take him out. I brought him home.

You went out by the back door...

he by the fire escape, | and you two met outside.

Phile's been out on his own. | So have I.

I told him he wasn't to go out, | and you take him.

Oh, don't let's talk about him.

- There's something more important. | - What could that be?

You and I.

Go on.

Well, I've tried to make a go of it.

And so have you.

But we only make each other miserable.

It's years now since there's been a day | without some blessed row.

- We can't go on like this. | - You want your freedom?

You don't want me around anymore.

This is something new, | this kind of talk.

I've thought about it long enough.

And now it's time tell you. Because

You go off, and see | what happens to me.

- Oh, don't talk like that. | - You do as you say. You and your freedom.

You'll feel fine when you read it | in the Sunday newspapers.

You'll be able to say, | "That's me. I did that. "

That'll make you feel happy.

Oh, don't talk so foolish.

Oh, go and give the boy his supper.

We'll talk about it later.

You know your father | doesn't like you going out alone.

- Funny you should meet Baines, wasn't it? | - Yes.

He likes wandering about | on his own too.

Not much appetite, | have you, Master Phillipe?

No, Mrs. Baines.

Why don't you try | eating some of that...

...nice pudding? You don't eat enough.

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Graham Greene

Henry Graham Greene (2 October 1904 – 3 April 1991), better known by his pen name Graham Greene, was an English novelist regarded by many as one of the greatest writers of the 20th century. Combining literary acclaim with widespread popularity, Greene acquired a reputation early in his lifetime as a major writer, both of serious Catholic novels, and of thrillers (or "entertainments" as he termed them). He was shortlisted, in 1966 and 1967, for the Nobel Prize for Literature. Through 67 years of writings, which included over 25 novels, he explored the ambivalent moral and political issues of the modern world, often through a Catholic perspective. Although Greene objected strongly to being described as a Roman Catholic novelist, rather than as a novelist who happened to be Catholic, Catholic religious themes are at the root of much of his writing, especially the four major Catholic novels: Brighton Rock, The Power and the Glory, The Heart of the Matter, and The End of the Affair; which are regarded as "the gold standard" of the Catholic novel. Several works, such as The Confidential Agent, The Quiet American, Our Man in Havana, The Human Factor, and his screenplay for The Third Man, also show Greene's avid interest in the workings and intrigues of international politics and espionage. Greene was born in Berkhamsted in Hertfordshire into a large, influential family that included the owners of the Greene King Brewery. He boarded at Berkhamsted School in Hertfordshire, where his father taught and became headmaster. Unhappy at the school, he attempted suicide several times. He went up to Balliol College, Oxford, to study history, where, while an undergraduate, he published his first work in 1925—a poorly received volume of poetry, Babbling April. After graduating, Greene worked first as a private tutor and then as a journalist – first on the Nottingham Journal and then as a sub-editor on The Times. He converted to Catholicism in 1926 after meeting his future wife, Vivien Dayrell-Browning. Later in life he took to calling himself a "Catholic agnostic". He published his first novel, The Man Within, in 1929; its favourable reception enabled him to work full-time as a novelist. He supplemented his novelist's income with freelance journalism, and book and film reviews. His 1937 film review of Wee Willie Winkie (for the British journal Night and Day), commented on the sexuality of the nine-year-old star, Shirley Temple. This provoked Twentieth Century Fox to sue, prompting Greene to live in Mexico until after the trial was over. While in Mexico, Greene developed the ideas for The Power and the Glory. Greene originally divided his fiction into two genres (which he described as "entertainments" and "novels"): thrillers—often with notable philosophic edges—such as The Ministry of Fear; and literary works—on which he thought his literary reputation would rest—such as The Power and the Glory. Greene had a history of depression, which had a profound effect on his writing and personal life. In a letter to his wife, Vivien, he told her that he had "a character profoundly antagonistic to ordinary domestic life," and that "unfortunately, the disease is also one's material." William Golding described Greene as "the ultimate chronicler of twentieth-century man's consciousness and anxiety." He died in 1991, at age 86, of leukaemia, and was buried in Corseaux cemetery. more…

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Submitted on August 05, 2018

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