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| Bobby Henrey in The Fallen Idol (1948). |
Sometimes as
adults, we forget how lonely and confusing childhood can be. Produced in
England in 1948, The Fallen Idol
(1948) resonates long after its final scene for its moving central depiction of
vulnerability and helplessness.
Fade in on Bobby
Henrey as Phillipe, an inquisitive-looking boy peering through a second-floor
railing, watching the clockwork precision of the embassy staff below. Everyone
has a job to do but him. In his privileged position as the diplomat’s son, Phillipe
is simply an observer, like a child in a movie theater (or, more
pessimistically, like a prisoner behind bars). Being so young, nine-years-old
at the most, he watches intently but probably understands only a fraction of
what he sees.
The essay continues at Wonders in the Dark…
I contributed this piece to the Childhood Films
Countdown at Wonders in the Dark. Wonders ringleader and mastermind Sam Juliano has organized dozens of his knowledgeable film-buff
friends to write in-depth essays on 80 great films that explore childhood and
adolescence. It is an honor to be participating!
Skip on over to Wonders in the Dark to read my whole piece on Carol Reed’s The Fallen Idol (1948). Meanwhile, here at 21
Essays, I’ll just tease with some tasty images from the film, a favorite of
mine for many years.
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| "... a panic-stricken Phillipe dashes down deserted city alleys..." And a friendly policeman finally calms the child down. The Fallen Idol displayed director Carol Reed's skill at capturing the ominous atmosphere of the city at night. |
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| Director Carol Reed liked using Dutch angles where he tilted the camera to suggest a world out-of-balance. This image shows a tense scene between Bobby Henrey and Sonia Dresdel. In his next movie, The Third Man (1949), Reed's use of Dutch angles hit an all-time high as he filmed the streets and sewers of post-war Vienna. |
© 2015 Lee Price
