The Fallen Idol Page #6

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


...to our seeing over | the servants' quarters?

No, none at all. | Through the door there.

You would trouble me much less | if you'd speak English.

Of course, the story | of her slipping may be true...

but the type of injuries | suggest something more violent.

What if there'd been a push?

- Why do you say that? | - We know that they quarreled.

- Up there? | - Mmm.

- Is he a big chap? | - You saw him come down just now.

Oh, he.

- Mr. Baines? | - Yes.

We've permission | to ask you a few questions.

This has been a terrible night for you...

...and we don't propose to keep you long.

I'll tell you anything I know.

There was nobody else in the house, | was there, when it happened?

No.

You had supper out in the yard.

The boy wanted a picnic.

Just the three of you.

Just the boy and I.

But there were three places laid.

Oh, yes, of course.

I forgot. | Mrs. Baines was with us.

Try to remember things like that.

It helps us, you know, | to get the details right.

I'm sorry.

Can we have a word with you?

Good heavens. | What's he doing there?

Now what, boy?

- Come along, Phile. | - It's all right, Baines. I'll take him up.

Hello. What's this | you've got hold of? Hmm?

You don't want that now. | I'll take it. Now watch. See?

He's in the same room?

Baines. | Is he in the same room?

Uh, y-yes.

Well, what was he up to?

Oh, n-nothing, sir.

Mr. Baines, I understand | there was some sort of scene...

between your wife | and the boy tonight.

Do you know what it was about?

Well, she - sh-sh-she used to | get in a fuss about...

trying to keep the house tidy.

Do you know what he'd been up to?

Or was there nothing unusual | to make her angry tonight?

No.

You said just now that Mrs. Baines | had had supper with you downstairs.

You did say that, didn't you?

Yes.

Well, then -

I - I... forgot.

She wasn't with us.

But there were three places laid.

Who else was there?

Nobody. | I- I-I must have laid it from h-habit.

But the third place was used.

How do you account for that?

Well, I think we'll | leave all the questions

to Chief Inspector | Crowe in the morning...

after he's read the doctor's report.

Doctor's report?

It's only that your story of the slip

doesn't quite fit in with what they say.

Julie!

- Why not tell them everything? | - No, no. Leave it to me.

There's no need for you | to be brought into this.

- You go to the office.

- Good morning, Baines. | - Good morning, sir.

- Are they here yet? | - Not yet, sir.

Who is this lady?

She - She works here, sir, | in the typing room.

- A bit early, aren't you? | - Yes, sir.

I had something to do | that I didn't finish on Saturday.

Oh, I see.

Do you do shorthand?

- Yes, sir. | - Good. Don't go for a moment.

Chief Inspector Crowe, sir.

I'm the first secretary. I'm in charge here | until the ambassador returns.

Yes, I know. We shall try to cause you | as little trouble as possible.

I see. | This is Mr. Baines.

Oh. | My sympathy, Mr. Baines.

- My ambassador will expect a full report. | - Yes, naturally.

Have you any objection to | one of our typists taking down what's said?

No, none whatever.

Actually, I've no right to object. | We're on foreign territory here.

Oh, could I see | the little boy, Phillipe.

- If you think it's necessary- | - Yes. Thank you.

Oh, Baines, uh, would you? Better fetch him.

- Have you got a notebook? | - I'll get one, sir.

There.

What shall I say, Baines?

Tell them anything they want to know, | except for you-know-who.

Was it like this | that time in Africa?

- What time? | - The time you killed a man.

Not a bit like this.

Don't worry, Baines. | I won't tell them anything.

Would you mind, Baines, | putting a notice on the front door...

telling the clerks to | use the empty office

next to the visa section next door.

- Hello, sonny. Don't run away. | - I wasn't running away.

No, I mean, I just wanted | to say, "How do you do?"

- Your name is Phillipe, isn't it? | - Yes.

I've heard quite a lot about you.

- You're the little boy who ran away. | - I didn't run away.

I've said that again, have I?

I meant, you're the one | who took a walk.

And a rather late walk, wasn't it? | After supper, hmm?

Oh, quite a party you had last night, | didn't you? A picnic party.

No.

- Didn't you have it downstairs with - | - No!

Do you want me | to take all this down?

No, no, no. | This is just friendly conversation.

We are friends, aren't we?

- Hmm? | - No.

Well, anyway, you didn't have

a picnic downstairs | last night with anybody.

No!

I've put up the notice.

No!

I'd like to have a word | with Mr. Baines.

- Where could we be quiet? | - Uh, here in the ambassador's room.

I'd like you and your secretary | to be present.

I just want to get | Mr. Baines's story quite straight.

- My story's straight enough. | - Yes, yes, of course.

I just want to iron out | one or two inconsistencies.

Oh, would you wait outside | for a few moments, sonny?

I just want to have | a little talk with Mr. Baines.

- Have you got a ball to play with? | - No.

Well - Oh. Mm-hmm.

Uh, Ames, let him borrow | your chiming watch.

It's like this, see.

Do be careful with it now.

Tsk. | Poor Mrs. Baines.

Down these very stairs. | I can almost see her. Can't you?

Yes. I expect her neck | was snapped like a matchstick.

- Mmm. | - Do you see any blood?

There wouldn't be any blood | if her neck was broken, would there?

Might be a little | if the bone came through.

Treacherous stuff, this marble.

I wouldn't have it in | my house at any price.

You listen to the watch, sonny.

I wonder if you could find | something to do somewhere else, hmm?

Crowe says, will you | photograph the position

of the body from the top of the stairs.

Right.

No, not that way, sonny.

Like this. See?

- What are you doing? | - Hmm?

Oh, yes. See this powder?

Well, that's solved more crimes

than the whole police | force put together.

Here, put your thumb just down there.

Just press it down quite | like that. That's it.

Now put some powder on.

Now you blow and watch.

See? There's only one person in the world | that has a thumb like that.

And that's how we find things out.

Yes, they, uh -

they want to have | a word with you, Phile.

Oh, well, we shan't need you | for a few moments, Baines.

Well, I'll be downstairs.

Well, Phillipe, I don't suppose | you ever met a detective before.

Except in books.

Did the watch work?

Not taken out the works yet?

You know, Phillipe, | I've got a boy at home very like you.

He's a bit older, that's all.

Oh, he likes marbles. | Do you like marbles?

Look here. | What do you think of that one?

I think that's a champion. | Don't you?

I always win with it anyway.

I don't suppose Mrs. Baines | would have liked marbles, would she?

But I expect Baines could | throw a marble with the best of us.

I like Baines. | Don't you?

Yes.

But not Mrs. Baines?

She killed Macgregor.

Killed Macgregor? | Who was he?

- My snake. | - Oh.

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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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