The Fallen Idol Page #7

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


You can keep that marble if you'd like.

Baines had a quarrel with Mrs. Baines | about you last night, didn't he?

No!

Didn't you hear them quarreling?

No!

- Phillipe, why did you run away? | - I took a walk.

Oh, a bit late, wasn't it, for a walk? | In your pajamas?

Now, wasn't it because Mrs. Baines | frightened you?

No.

But she did hit you, didn't she?

No.

- She came to your room last night. | - No.

Phillipe, tell me, what did you see | that made you run away?

I didn't run away.

Mrs. Baines was away all day | yesterday, wasn't she?

- What did you do? | - I went to the zoo with Baines and -

"And"?

Phillipe. And?

And then we went to the reptile house, | and then we came home.

- And then? | - We had supper.

- "We"? | - Baines.

- I, Baines and - | - Yes? And?

And then we - | And then we played games.

- What sort of games, Phillipe? | - Hide-and-seek in the dark.

I always get a bit frightened | when I play that. Who hid?

I hid, and they couldn't find me.

- "They"? | - Baines, I mean! Baines, I mean!

"They," Phillipe? | Now, who was with Baines?

- Nobody! Nobody! | - Phillipe.

- Who did you play hide-and-seek with? | - Baines!Just Baines!

You must tell the truth.

What is this? What are they saying?

It's a bit fast, sir. | I can't quite follow.

Will you speak English, please.

Don't badger them.!

I'm here, aren't I, | if you want to ask any questions.

Now, Phillipe, tell me...

who was with Baines?

His niece.

- Was she your niece, Mr. Baines? | - I told him so.

Your girl?

Yes. It was me.

- You were here? | - Yes. He wanted to keep me out of it.

He d - He di - | didn't mean any harm.

And this telegram?

She tried to catch us out, I suppose.

You'd better go upstairs, Phillipe.

You can keep the marble if you like.

- Baines. | - No, no. Mr. Baines is staying here.

Now we're getting somewhere.

Your quarrel with Mrs. Baines last night | was over this young lady.

It was what I said. | She went for the boy. She was hitting him.

That's not what the boy says.

Can't you see that child is lying?

I'm afraid there have been | a lot of lies in this business.

- There was no need for them. | - I sincerely hope there wasn't.

Now, will you come upstairs | and tell me exactly what happened.

I was in this room... with Julie.

Mm-hmm? Yes?

I thought I heard the boy calling.

I came out here...

and then I saw her hit him, | as I told you.

- Go on. | - She came running down these stairs.

She wanted to get into that room, | toJulie.

I caught hold of her.

She pushed me back.

She was hysterical.

She used to get into these rages | and do anything.

I've known her to put her hand | through a window she couldn't open.

I wasn't going to let her get in there.

Yes? And then?

And then I pushed her back...

over there.

She was shouting all the time.

I don't remember exactly what.

And we -we were struggling...

here.

Yes.

"Stop it," I said. "Stop it.

Go downstairs, and presently | I'll come down and talk to you. "

Then she seemed calmer | and started down the stairs.

I went back to this room.

- What is it, Harry? | - They're on the telephone from Selfridges.

They want to know if it'd | be all right if they deliver...

...the 40 gilt chairs tomorrow afternoon...

instead of today...

as the reception | is not till Wednesday night.

Yes, yes, tomorrow will be all right.

Then I - | I went back to this door.

No, Harry | - Harry, tell them they must...

deliver the chairs today because we..

Just tell them they must | deliver the chairs as arranged.

Then I - | I went back to the door.

When I got there, | I heard the scream...

as I told you.

I came out...

and when I got here...

I saw her hit the last step.

We've examined this staircase | very carefully, Mr. Baines...

and there's no evidence | of her having slipped.

When people slip, | they try to recover.

They leave some sign - | a scratch on the banister, anything.

It's just like a car skidding.

- What, and there's nothing? | - Nothing.

And the injuries would indicate | something more than a slip.

You're quite sure | you didn't, uh, push her?

You were both, I take it, very angry.

I'd done enough to her without that.

You see, | if she'd slipped from here...

or even a few steps down...

she couldn't possibly have landed | where she did -

because we've tested that -

unless she was pushed.

You're a very strong man, Mr. Baines.

You probably don't | know your own strength.

I didn't push her.

Why did the boy ask you, | "Was it self-defense...

as in Africa?'"

I've never been out of the country.

- Never? | - Well, except once, to Ostend.

Very well, Mr. Baines. Would you come

into the other room? And you too, miss.

- And whose room is this? | - A guest room.

Where were you when it happened, | when the scream came, hmm?

Yes?

There.

Although there had | been a struggle outside

and angry words, | according to Mr. Baines?

I couldn't do anything else.

I should have thought | you'd have got up and tried to hide.

I couldn't.

I'm sorry to have to ask you | all these questions.

- You then dressed in a great hurry, I suppose. | - Of course.

That would be after the scream.

Yes.

How long was that | after the child called out?

I don't know.

Two, three minutes. | I don't know.

- The child said he never called out. | - He must be lying.

It's obvious somebody must be lying.

When you dressed, | what did you do?

He showed me out.

Wouldn't it have been wiser, | and more honest, to have stayed?

He wanted to keep me out of it. | I was frightened because of our lies.

I don't understand you.

Then I - I can't explain to you.

How long had you known Mr. Baines?

Ever since I started to work | at the embassy- seven months.

- Without Mrs. Baines's knowledge? | - Yes.

And all that time you were | carrying on an affair with each other.

- We are very busy here. | - Won't be a moment.

Look, can't you come back later?

The first Monday of every month...

this clock has to be done.

They behave much better if they're, uh - | if they're looked after.

Oh, be as quick as you can.

You don't want to do it jerkily...

and not too fast.

You must take your time.

Thank you.

Did you ever discuss marriage?

No.

But your relations with this man | were intimate.

We love each other.

And intimacy took | place during that period?

We don't talk the same language. | I don't know what you mean.

- I mean, in plain language - | - Oh, leave her alone, can't you?

Don't worry. | It's his duty to ask questions.

Last night was the first time | we were ever alone like this.

Now, you take your photographs | and fingerprints and everything.

It's love you'll photograph, | not "intimacy. "

What do you want, sonny?

You've got to leave Baines alone. | He didn't do it.

- Didn't do what? | - He didn't murder her!

Why did you say "murder," Phillipe?

No one has mentioned murder.

Thank heaven someone has then.

Why did you say "murder," Phillipe?

He didn't do it.

Well, if he didn't do it...

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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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