The Fallen Idol Page #8

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


who did?

Hmm?

I did. My thumbmark's | downstairs on the banister.

Will somebody take this child away?

Come on.

I'll take him upstairs.

No, Mr. Baines, it might be | better if you kept away from the boy.

What, are you charging me?

I would advise you | to reconsider your story.

You've already admitted that you were

both quarreling at | the top of the stairs.

Perhaps there was a push | that you didn't intend.

Only please don't ask us | to believe too much.

- I tell you, I don't know how she fell! | - He's quite right, Baines.

- Think carefully. | - I don't have to think! It's the truth!

Run along, sonny.

- I'll take him up. | - I don't think you'd better, miss.

There's questions to | be asked, and the less

either of you see the boy the better.

- Are you forbidding me? | - No, I'm advising you. That's all.

In your interest and Mr. Baines's.

Well, I know his | interests better than you do.

As you please, miss.

- Would you care to sit down, Mr. Baines? | - I'm all right.

Listen, you've got to | stop telling these lies.

It's only silly. It | makes things much worse.

It doesn't. We've got to think of lies | and tell them all the time.

Then they won't find out the truth.

But Baines didn't do it, Phillipe!

She hit me. | Baines doesn't let people hit me.

Of course he doesn't.

But he'd never kill | anyone. You must know that.

- Why, he did in Africa. | - Oh, that's one of his stories. He's never been to Africa.

Baines doesn't tell me lies.

He's got a gun too.

You can't have understood, Phillipe.

The truth can't harm Baines. | Don't you realize he's innocent?

Oh, if there could | only have been a witness.

What's a witness?

Someone who saw.

Couldn't I say | that I saw somebody?

Phillipe, now what | have I just told you?

Now listen, you promise that from now on | you'll speak only the truth.

- Must I? | - Yes, you must. Now, you promise?

If you like.

All right. Now you go and tell | them that you told a lot of lies.

Mr. Baines, it would be | much more satisfactory...

if you'd consent to come along with us | just to make a formal statement.

And more convenient | for the embassy too, I should think.

Do I have to?

You've got to decide it yourself, Baines.

They can't force you to leave here.

They can't arrest you | so long as you are an embassy employee.

Of course, | we could appeal to the ambassador.

- Yes, yes? What is it, Phillipe? | - I've told you lies.

Yes, yes, I know all that. | I'd strongly advise you, Mr. Baines -

- Mrs. Baines did hit me. | - Yes, yes. You shouldn't tell lies.

I only wanted to help Baines. | Please.

I'd strongly advise you, | Mr. Baines, to come with us,

or else we shall have to | appeal to the ambassador.

I don't want His Excellency troubled.

I'll get my hat.

That's all right, Mr. Baines. | Perhaps Mr. Hart would get it for you.

I'm not under arrest yet, am I?

I'm going down to my own basement...

and I haven't invited the police there.

Baines! Oh, Baines!

Now, now, you, uh - | you mustn't come with me, Phile.

They-They don't want me | to talk to you.

I haven't done harm, have I?

Trouble is, we - | we've told a lot of lies.

About Africa - | you didn't make it up, did you?

They weren't lies.

Why, that was just a game, Phile.

I didn't really do those things.

No?

But you did kill Mrs. Baines, | didn't you?

Yes?

- Didn't you? | - No.

Oh.

But you did want to be free, | didn't you?

There are faults on both sides, Phile.

We don't have any call to judge.

Perhaps she was what she was because...

I am what I am.

We ought to be very careful, Phile...

'cause we make one another.

I thought God made us.

Trouble is, | we take a hand in the game.

I hope your mother comes back soon.

Good-bye, Phile.

Oh, Baines, we must never | tell any more lies.

- Mr. Crowe, sir. | - Yes?

- Will you come over here a minute? | - What is it?

Somebody's been up here.

Oh, sir, that was me. | Sir! Sir!

Please. | I want to tell you something.

I want to tell you something.

It's very important.

Yes, it's a woman's heel mark, all right.

- Please, sir. Please. | - Run along.

- You can see how it happened. | - Oh, please. It'll only take a minute.

- She wanted to see into the bedroom... | - Please, sir. Please.

- maybe force her way in. | - Will you listen to me, please?

She came along here | and upset the flowerpot.

Please, sir.! | It's about the flowerpot.

- Could she have got into the bedroom from there? | - Ah, yes, sir, easily.

I must tell you. | Will you listen to me?

Come along. We don't | want another accident.

You must listen to me.

How much easier it would be if everybody

told the police the | truth in the first place.

It's very important! Please!

- Would you call Mr. Baines. | - I'll get him.

The flowerpot,Julie, was there when...

It's all right. They | know what happened.

- She upset it before she fell. | - But it was me. I upset it.

Now, will somebody | please listen to me!

You don't need your hat.

They know what happened.

It's all right. | Come on upstairs.

You must listen. | It will make everything all right.

- Now, sonny- | - It's the truth.

I'd like to call your ambassador on | his return just to explain our action.

Oh, please. Oh, please.

Oh, Mr. Baines, | we shan't require you after all.

We found some evidence up there | which makes sense of your story.

Yes, she-she's told me.

Now we know how it happened, | what you've said is quite clear.

Please, I've got | to tell you something.

Will you send this young | shaver about his business?

- Come along, Phile. | - I've got to tell him.

Sit down over there, Phile. | We'll attend to you presently.

Come on. Come on. Over there.

- Sir, please! I'm telling the truth! | - Sit down.

Your father always goes away | at the worst possible moment.

It's the truth this time.

- Where did we leave the hats? | - I'll go and get them, sir.

Your evidence will be needed | at the inquest, Mr. Baines.

- Of course, we must keep the boy out of it.

Oui.

I'm afraid, sir, | we've caused you some trouble.

That's all right. | If only-

Oh, well. | That doesn't matter.

Oh, please. Please.

It's the truth. Please.

Oh, please, do listen to me. | Please.

It's very important | what I want to tell you.

Well, what is it?

Julie said only the | truth would help Baines.

What do you want to say?

It wasn't Mrs. Baines | that upset the flowerpot.

It was me. You see?

It's my fault. | I did it.

- I've told fibs in my time too. | - Cross my heart!

Shall I tell you a secret?

No!

Nice weekend, Mr. Baines?

Phillipe.!

Phillipe, your mother!

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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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