{"id":16280,"date":"2015-11-27T15:51:44","date_gmt":"2015-11-27T15:51:44","guid":{"rendered":"http:\/\/www.filmdetail.com\/?p=16280"},"modified":"2015-11-27T17:01:45","modified_gmt":"2015-11-27T17:01:45","slug":"the-fallen-idol-1948","status":"publish","type":"post","link":"https:\/\/www.filmdetail.com\/2015\/11\/27\/the-fallen-idol-1948\/","title":{"rendered":"The Fallen Idol (1948)"},"content":{"rendered":"

The first collaboration between writer Graham Greene<\/a> and director Carol Reed<\/a> is a classic in its own right, despite being overshadowed by their masterful second team-up, The Third Man<\/a> (1949).<\/p>\n

Based on a Greene story and told from the perspective of a French diplomat\u2019s young son (Bobby Henrey<\/a>), who idolises his father\u2019s butler (Ralph Richardson<\/a>), it explores what happens after he witnesses a serious incident in the London embassy where they live.<\/p>\n

A highly impressive blend of mystery, thriller and suspense, it features many delights, including a raft of fine performances, principally Henrey and Richardson, but also a supporting cast including Sonia Dresdel, Michele Morgan, Dandy Nicholls (as well as future Bond stalwarts Bernard Lee and Geoffrey Keen).<\/p>\n

Greene\u2019s familiar themes are here – betrayal, moral ambiguity – but what made this first collaboration with Reed so special was the realisation that they both seemed to find their creative soul mate in each other and no director has managed to portray the Greene’s works so well.<\/p>\n

The post-war London setting is superbly evoked with Vincent Korda\u2019s excellent production design and Georges Perinal’s deep-focus photography emphasising the gulf between the innocence of childhood and the often murkier business of adults.<\/p>\n