Hell-bent Hophead

The story of the "Rake's Progress" is an old one, perhaps every well known author has at some time written about the cad, the bounder, the hophead who, after living a selfish, sensuous life, makes good in some spectacular way. "A Tale of Two Cities" is just such a story, "Jimmy Valentine" another. Because the cad must also be the hero, he must be made an appealing cad, a misunderstood cad, a cad through whom you can see shining a suppressed virtue. Such a cad is Vivian in the film showing at the moment.

This story does not, however, lay the blame for the young man's misconduct on original sin; it does make some attempt to show that the social conditions of the time had a share in forming his character. A week-kneed attempt certainly, but it is difficult to imagine a Hollywood production using the crazy capitalist economics of the depression as the final disillusion in a young man's life.

Nor are the final scenes those of a complete debauchee dinning to the rail of a low class bar with an organ grinder playing "There's No Place Like Home" in the background, and pink snakes playing ducks and drakes in his glass. The values of Vivian's world are very much like those which are becoming prominent today. He desires excitement, he drinks a little too much, he chases women a little too much; when he catches them he cannot make his relationship with them [unclear: gunda]mental or lasting. He has no interest in politics and in general avoids all responsibility. He is a typical example of those who, in the disillusioned thirties could afford to be disillusioned in that way. The rest simply starved.

After seeing the film I could not help asking myself if the general tendencies do not indicate we are moving towards a disillusioned fifties. Is there not a little of Vivian in all of us?

No matter what you think of the story—and it had many weaknesses—it is worth seeing for the acting alone. Rex Harrison plays his part convincingly without overplaying it. Lilli Palmer uses a beautiful voice to good effect, particularly in her reflective commentaries; the direction is good and has some sparkling moments. The change from scene two to scene three I thought good—very well planned. On the whole a good film, not outstanding or soul shaking, but enjoyable entertainment.