The Go-Between 1971 123movies

Watch: The Go-Between 1971 123movies, Full Movie Online – Summer 1900: Queen Victoria’s last, and the summer Leo (Dominic Guard) turns thirteen. He’s the guest of Marcus (Richard Gibson), a wealthy classmate, at a grand house in rural Norfolk. Leo is befriended by Marian (Julie Christie), Marcus’ twenty-something sister, a beauty about to be engaged to Hugh (Edward Fox), a viscount and good fellow. Marian buys Leo a forest-green suit, takes him on walks, and asks him to carry messages to and from their neighbor, Ted Burgess (Sir Alan Bates), a bit of a rake. Leo is soon dissembling, realizes he’s betraying Hugh, but continues as the go-between nonetheless, asking adults naive questions about the attractions of men and women..
Plot: British teenager Leo Colston spends a summer in the countryside, where he develops a crush on the beautiful young aristocrat Marian. Eager to impress her, Leo becomes the “go-between” for Marian, delivering secret romantic letters to Ted Burgess, a handsome neighboring farmer.
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Ratings:

	7.2/10 Votes: 5,879
	100% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 95 Popularity: 8.868 | TMDB

Reviews:

Manipulative regression
There is always at least one reason for wanting to see any film and ‘The Go Between’ had plenty. Harold Pinter to me was one of the greatest playwrights/writers of the twentieth century, his prose is so insightful, very intelligent, not heavy-handed and sharp even if his screenplays may be too talky for some. Have had a high appreciation for Joseph Losey ever since first seeing his ‘Don Giovanni’ (one of the best opera films ever made) over a decade ago. Love the cast too.

1971’s ‘The Go Between’ on the whole didn’t disappoint. Like their previous collaborations, it is very good if not flawless. Even if it is again very polarising, can totally understand why it may not connect with some but personally do understand the positive reception more. If you like fast and furious pacing, prefer rootable characters and are not a fan of sparse dialogue and a lot of pauses, it’s perhaps best looking elsewhere. If you are fine with deliberately paced films and like films that disturb and move through atmosphere, ‘The Go Between’ is likely to appeal. It is hard to say which is the best between this, ‘The Servant’ and ‘Accident’, as someone who thinks they’re equally very good in their own way.

By all means, ‘The Go Between’ isn’t perfect. Personally did find the score ill fitting tonally, too much like Gothic spy thriller from the 70s whereas a more elegiac, quieter period music approach would have been more suitable. And it could have been used a little less too.

Do agree with those that say that there are some muddled time shifts where the film jumps about a little structurally. The first 20 minutes or so drag a little too much.

However, all that is overshadowed by the huge amount that ‘The Go Between’. It is gorgeously filmed and the Norfolk locations are stunning too. Losey’s direction is very atmospheric and accomplished, and Pinter’s dialogue is unmistakable Pinter, not wordy or constant but very poetic and thought provoking. The story is deliberate, over deliberate to start with, and also tense and moving with its portrayal of the class system and divide being biting and insightful in how regressive and manipulative it was in the time period depicted in the classic source material.

Can’t fault the acting, Dominic Guard’s performance has garnered a very polarised response, to me he was fine. Julie Christie and Alan Bates smoulder beautifully in their roles, though Bates’ character is underdeveloped due to the amount left out, with a chemistry that makes one believe in the romance. Margaret Leighton is also very powerful and commands every second of her screen time.

In summary, very good if not without flaws. 8/10.

Growing pains…
The source novel, (obviously inspired by Lawrence’s more carnal “Lady Chatterley’s Lover”) I had read a year or so ago on holiday and thoroughly enjoyed so it was with much anticipation that I settled down at last to watch this celebrated adaptation by American exile Joseph Losey, with its top-notch British cast. I wasn’t disappointed. To the best of my recollection, the film is very true to the novel, only slightly modifying the epilogue-type ending by introducing the years-later reunion of Marion and Leo in teasingly inserted sequences which initially might confuse the casual viewer. The main theme of the movie, to my mind is the corruption of innocence as the adults in the world of naive young outsider Leo, take advantage of his susceptibility and willingness to please, not to mention his pubescent fascination with physical love, to use him as an unwitting pawn in their adult games of deception and lust. Thus we learn at the conclusion that Leo has never married or, even, by inference, enjoyed any kind of natural relationship with a woman, thus is his trust and innocence abused for all time.The film of course also comments tellingly on snobbery, class division and heroism in between-the-wars England but in the end its most important facet is the interplay of the four main characters, Marion, Ted Burgess, Lord Trillingham and of course young Leo, as the film moves inexorably towards its predictably tragic ending. The acting is generally very good, especially the main female parts played by Julie Christie and Margaret Leighton as errant daughter and suspicious mother respectively. The male acting I was slightly less enamoured of, Alan Bates failing to me to really suggest the rough physicality which draws Marion away from the safe, arranged, matrimonial match offered by the affable jolly good chap, Lord Trillingham, well played by a young Edward Fox. The young actor playing Leo, acts his part very well although the scenes with his young school-friend, Marion’s younger brother, are a bit strained and accordingly unconvincing. The direction I found largely well-paced, although one or two short interludes seemed unnecessary in the editing and occasionally the frightfully, frightfully accents of the cast grated somewhat. Harold Pinter’s screenplay stays properly close to its source and is less noticeably Pinter-ian than I would have expected, not too many characteristic pregnant pauses or repetitions. The climax (sorry, no pun intended) in the barn was effectively led up to and delivered. I did however find the music by Michel Legrand lacked a little subtlety, out of kilter with the delicate emotions on display here and also lacking the required pastoral touch. On the whole though this was a rewarding and entrancing movie, as good a classic book adaptation as you could hope to see and probably a precursor of Merchant-Ivory’s success later in the decade.

Other Information:

Original Language en
Runtime 1 hr 56 min (116 min)
Budget 100000
Revenue 0
Status Released
Rated GP
Genre Drama, Romance
Director Joseph Losey
Writer Harold Pinter, L.P. Hartley
Actors Julie Christie, Alan Bates, Dominic Guard
Country United Kingdom
Awards Nominated for 1 Oscar. 10 wins & 11 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 1.85 : 1
Camera N/A
Laboratory N/A
Film Length N/A
Negative Format 35 mm
Cinematographic Process N/A
Printed Film Format DCP Digital Cinema Package (restored version), 35 mm