Word: losey
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Even so, the movie consistently shows Losey's considerable talents to best advantage. Figures in a Landscape, which he made before The Go-Between, intermittently reveals him at his worst. Robert Shaw and Malcolm McDowell appear as two prisoners who have escaped from an anonymous jail in an unspecified country. They are pursued by a nameless army of faceless foes. Wherever they run, a helicopter hovers over them like a wrathful god. It is all very pompous, the kind of vague allegory that is open to any number of interpretations and able to sustain none...
...symbolism and Robert Shaw's script are heavy, the action is fairly swift. Losey contributes some precise craftsmanship, Shaw and McDowell a couple of very good performances, Spanish deserts and mountains some arrestingly picturesque vistas. The combination is not quite enough to make up for the inflated metaphors, which bob about on the surface of the action like a collection of lopsided inner tubes. Without them, the film would be just another action flick, rather better engineered than most...
...Romantic?" Joseph Losey rumbles in a voice full of measured flamboyance. "You might say that I am. A middleaged Marxist romantic. But I'm not sure that being romantic isn't synonymous right now with being optimistic. And I am that...
...postwar Hollywood as a young director of substantial gifts, he was offered the script of a shrill melodrama entitled I Married a Communist. He refused to film it. Later he discovered that to his bosses at the old RKO studio, anyone who declined the project was politically suspect. Losey's political history-sponsoring Composer Hanns Eisler, supporting Playwright Bertolt Brecht, signing a friend-of-the-court brief for Producer Adrian Scott, one of the original Hollywood Ten-got him into serious trouble. Soon he was called to testify by the House Un-American Activities Committee. He never received...
...have made this time endurable, but despair shows through tellingly in a series of films he made during the years from The Sleeping Tiger (1954) to Eva (1962). They are preoccupied with thwarted dreams and baroque psychopathy, with characters afflicted by spiritual wounds that will not heal. Although Losey had begun to work under his own name by 1957, it was not until the release of The Servant in 1963 that he became a film maker of international reputation. Losey and Pinter planned to do The Go-Between right after The Servant, but problems with the film rights and then...