Word: losey
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...Between is an ingenious, pretty little picture but it is neither moving nor beautiful. Director Joseph Losey and writer Harold Pinter are so determined on elegance that the film's higher aims are strangled by its stylistic pretensions...
Though the same team has given us two other films dealing luxuriously with upper-class rot (The Servant and Accident), The Go-Between begins with images and words which suggest that tired tricks are abandoned, and that Losey and Pinter have put a novelistic concentration of characterization and detail on the screen. The credits are projected against a raindropped windowpane: we see glimpses of green foliage and a manor-like brown blur. A pitted voice speaks: "The past is a foreign country. They do things differently there...
Taste of Worm. When Losey finally started The Go-Between in the summer of 1970, he found himself restricted to a $1,000,000 budget and a severe eight-week shooting schedule. It is a tribute to his talent that a film made under such confining conditions could be so lush and fully sustained. "Joe is so scrupulous it's stunning," says Pinter. "He can be directing a complicated scene with actors and be able to pay attention not only to its meaning but to whether a saltcellar on the table is out of position." Of The Go-Between...
...reflective, robust 62, Losey lives comfortably in London's Chelsea with his fourth wife. He is planning to film a biography of Leon Trotsky, and spent some time recently in Mexico City with Artist David Siqueiros, who as a Stalinist had been involved in an attempt on Trotsky's life. "How are you going to make a true film?" Siqueiros asked him. "If it was true, how would any film company let you make...
...told him it couldn't be the complete truth," Losey says. "It's like the Trotskyite theory of revolution: if they couldn't have total world revolution, they wanted none at all. But I told him there would be as much truth as possible. Maybe even more. But that it is also necessary to just keep working...