At Oxford, Austrian student Anna von Graz (Jacqueline Sassard) is dating fellow student William (Michael York), whom she plans to marry, but she ends up sleeping with two unhappily married Oxford professors instead.
During World War I, Army Private Arthur James Hamp is accused of desertion during battle. The officer assigned to defend him at his court-martial, Captain Hargreaves, finds out there is more to the case than meets the eye.
In Nazi-occupied Paris, the immoral art dealer, Robert Klein, leads a life of luxury, until a copy of a Jewish newspaper brings him to the attention of the police, linking him with a mysterious doppelgänger. Will Mr Klein clear his name?
Rather undiplomatic British diplomat Harrington Brande (Sir Michael Hordern) takes up his new post in Spain accompanied by his son Nicholas (Jon Whiteley). The posting is something of a ... See full summary »
The Oxford Professor of Philosophy Stephen (Sir Dirk Bogarde) has two favorite pupils, the athletic aristocrat William (Michael York) and the Austrian Anna von Graz (Jacqueline Sassard). Stephen is a frustrated man, with a negligent wife, Rosalind (Vivien Merchant), who is pregnant of their third child, and is envious of the Oxford professor Charley (Stanley Baker), who has a television show. Stephen feels attracted to Anna, but William woos her and she becomes his girlfriend. Charley has a love affair with Anna, but when things go wrong, Anna must leave town.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The Anna character is meant to be Austrian, but speaks with a (Jacqueline Sassard's native) French accent. See more »
[reading from learned journal]
A statistical analysis of sexual intercourse at Colenso University, Milwaukee showed... that 70% did it in the evening, 29.9% between 2 and 4 in the afternoon and 0.1% during a lecture on Aristotle.
I'm surprised to hear that Aristotle is on the syllabus in the State of Wisconsin.
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Following their work on "The Servant" (1963) and before the more well-known, "The Go-Between" (1971), "Accident" can be seen as the best - certainly the most understated - of the collaborations between the English playwright, Harold Pinter, and the expatriate American director, Joseph Losey, who had lived and worked in London for some years.
As Pinter said in a 1966 interview: "So in this film everything is buried, it is implicit. There is really very little dialogue, and that is mostly trivial, meaningless. The drama goes on inside the characters." In the published screenplay his directions for one scene indicate that "the words are fragments of realistic conversation. They are not thoughts..." and what comes across is the brilliant contrast between the nondescript, mundane, day-to-day attempts at communication between the characters combined with a hard look at the underlying reality of the characters' situations. Nothing is like it seems to be.
If you like the work of Harold Pinter, this rarely-available film, is a brilliant addition. See it in combination with the other two to get a full picture of what Losey and Pinter achieved. I've seen the films at least 10 times each and they formed the basis of my 1974 MA thesis on the Pinter-Losey collaboration.
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