Libel


1h 40m 1959
Libel

Brief Synopsis

A former POW is accused of being an impostor.

Film Details

Genre
Drama
Adaptation
Release Date
Oct 1959
Premiere Information
New York opening: 23 Oct 1959
Production Company
Metro-Goldwyn-Mayer Corp.
Distribution Company
Loew's Inc.
Country
Great Britain and United States
Location
Elstree, England, Great Britain; Wiltshire, England, Great Britain; Bedfordshire, Great Britain
Screenplay Information
Based on the play Libel! by Edward Wooll (London, 2 Apr 1934).

Technical Specs

Duration
1h 40m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
2.00 : 1
Film Length
8,980ft (11 reels)

Synopsis

In London on a two-day layover, Canadian airline pilot Jeffrey Buckenham visits a pub where he becomes agitated upon viewing a portion of a television program featuring Sir Mark and Lady Margaret Loddon giving a tour of their historic estate. During the live broadcast, Mark cannot recall an event from his youth, but Maggie covers for her husband. After the telecast, Mark apologizes, but Maggie reassures him that she has grown accustomed to his memory lapses since his return years earlier after being a German prisoner-of-war. Later that night, Mark confesses to Maggie that he is inexplicably haunted by a portion of a tune and an unidentifiable image that he believes is connected to the song. The following day, Jeff joins a public tour of the Loddon estate and remains behind to confront Mark, who recognizes him as a fellow prisoner in the German POW camp. When Jeff sees that Mark is missing two fingers on his right hand, he accuses him of being Frank Welney, a camp inmate who bore a striking resemblance to Mark. After Jeff departs, he visits Mark's cousin, Gerald Loddon, a car salesman, and reveals his suspicion that Welney is masquerading as Mark. Gerald suggests that Jeff print a formal accusation exposing Welney in the Sunday Gazette , a disreputable but best-selling journal. The following afternoon, Maggie finds two reporters in her home taking photos of her and Mark's young son Michael. The reporters show her a copy of Jeff's published accusation. Later, Mark declares they should ignore the item, but Maggie remains doubtful. After the couple overhears several of their acquaintances gossiping about the article on their walk to church, Maggie insists that Mark sue Jeff and the paper for libel for Michael's sake. Upon learning of the suit, Jeff visits Gerald, who offers Jeff a portion of a letter he received from Mark during the war, but advises Jeff that he is obliged to stand by Mark in public. On the first day of the trial, Mark is called by his attorney, Sir Wilfred, and summarizes his experiences during the war, admitting his long stay in the camp turned his hair prematurely white as well as caused gaps in his memory. The prosecutor, Hubert Foxley, accuses Mark of being Welney, a poor, small-time actor, who longed to take over Mark's wealth, title and marriage. Foxley then reads from Mark's letter to Gerald, which notes Welney's physical similarity to Mark except for having lighter hair and a damaged right hand. Mark explains that his hand was injured during his flight from the camp. Prompted by Foxley, Mark then describes the breakout in April 1945: Mark, Welney and Jeff escape together, traveling by night to avoid detection. On the third night, the men hide by a small bridge guarded by German soldiers and discuss making a risky foray to a nearby farm for food. Jeff cautions Mark not to volunteer as he is wearing an officer's jacket and offers to go instead, leaving Mark and Welney alone. In the present, Mark adds that all he can recall after Jeff's departure is the fragment of a tune and a reflection in the mist. Foxley asks Mark if he recalled Maggie, his then fiancée, and Mark admits he had forgotten her, but she wrote him constantly during the six months he was hospitalized. At the adjournment, Sir Wilfred tells Mark that Maggie's testimony will allay any doubts, but Mark refuses to allow Maggie to testify. After lunch, Gerald testifies that he has no doubt of Mark's identity. At the end of the day, Sir Wilfred again insists that Maggie testify, but Mark again refuses, claiming the trial is too undignified. That evening in their hotel room, Maggie expresses surprise that Mark had not remembered her and he admits he never told her out of fear of rejection. When Mark admits to being uncertain of his own identity, Maggie comforts him. The following day Jeff testifies that Welney was a grating character, prone to violence who questioned Mark repeatedly about his family and home and once physically imitated Mark when he believed himself alone. Jeff relays that during their escape, he heard shots and returned to the bridge to see the German guards standing over a body in an officer's jacket and concludes that Welney murdered Mark to take his place. During the court recess, Maggie approaches Jeff to insist that he is mistaken about Mark. Jeff tells her that Mark was a true friend to him and confides that on that night by the bridge, Mark had followed Jeff to ask him to return the last thing Maggie gave to him, a tiny medallion, if anything should happen to him. By Maggie's reaction, Jeff realizes that she has not seen the medallion since Mark returned from the war. Upon the trial's resumption, Foxley calls German physician Dr. Schrott, who testifies that in April 1945 a man found in a British officer's jacket was brought to him, terribly beaten and maimed so severely that his right arm had to be amputated. With no memory or ability to speak, the man was never identified and remains a hospital inmate known only as Number Fifteen. The man kept the jacket, which is presented in court and when Foxley suggests that seeing a familiar face may jar his memory, Number Fifteen is brought into court. The horribly disfigured man is directed toward Mark and when Number Fifteen shuffles closer, Mark recoils. Sir Wilfred points out to the court that no one knows Number Fifteen's identity, then tells Mark that Maggie must testify on his behalf. Taking the stand, Maggie declares that seeing her husband's strong reaction to Number Fifteen convinced her that he is not Mark. When Foxley asks Maggie if she considers Number Fifteen to be Mark, she says that it was clear the men recognized one another. That night back at the hotel, Maggie calls Mark an imposter, despite their years together. Distraught, Mark spends the night walking the streets and at dawn finds himself by a canal. While Mark gazes into the water at his reflection, his memory is abruptly restored. In court later that morning, Mark explains that on the night by the bridge after Jeff had departed, he had crawled over to the river for a drink and heard Welney whistling the aimless tune he always whistled. The whistling ceased and Mark saw Welney's reflection above as Welney prepared to strike him with a log. The men fought and, in a rage, Mark beat Welney senseless. He then exchanged jackets with him and as he was fleeing was shot in the hand by the guards. Mark states that he believes the shock of his unaccustomed burst of violence triggered his amnesia. When the judge asks Mark if he can provide any evidence of his claim, Mark hesitates, then asks for the jacket and finds the medallion from Maggie. Both Maggie and Jeff recognize the medallion and Foxley hastily requests a settlement. Mark offers to pay for Number Fifteen's continued care, then thanks Jeff for restoring his memory, and reunites with a contrite Maggie.

Film Details

Genre
Drama
Adaptation
Release Date
Oct 1959
Premiere Information
New York opening: 23 Oct 1959
Production Company
Metro-Goldwyn-Mayer Corp.
Distribution Company
Loew's Inc.
Country
Great Britain and United States
Location
Elstree, England, Great Britain; Wiltshire, England, Great Britain; Bedfordshire, Great Britain
Screenplay Information
Based on the play Libel! by Edward Wooll (London, 2 Apr 1934).

Technical Specs

Duration
1h 40m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
2.00 : 1
Film Length
8,980ft (11 reels)

Award Nominations

Best Sound

1959

Articles

Libel


Nobody does courtroom dramas quite like the British - but then, nobody has a courtroom system quite like theirs either. From cagey barristers to last minute surprises, Libel (1959), an adaptation of Edward Wooll's 1935 Broadway hit, captures all the high points of the genre, and throws in an intriguing mystery to boot - how can you prove your own identity when you're not too sure of it yourself?

After years as a matinee idol in comedies and romances, Dirk Bogarde - often dubbed the British Rock Hudson - demonstrated his dramatic chops as a British nobleman whose life of ease is threatened by accusations that he's really an imposter. His triple role (or is it?) as the British lord, a look-alike actor and the man one of them may have become in a World War II POW camp led to more challenging roles for the British star. He would go on to win the British Academy Award as the sinister butler in Joseph Losey's The Servant (1963) and a straying husband in John Schlessinger's Darling (1965).

For Bogarde's leading lady, Olivia de Havilland, Libel brought her the kind of glamorous part she had hoped to settle into when she re-located to Paris in the mid-50s. Not only did she get to trot out her best stage diction as the proper British lady led to doubt her own husband, but she got the producers to hire Christian Dior to design her costumes. But her transformation into a grande dame may have been too much too fast. As the New York Times critic noted, she seemed to be "balancing Big Ben on her hat." The performance would come back to haunt her in future years, with other critics complaining that she seemed to be giving testimonials rather than acting.

But any qualms about the leading lady were more than balanced by the quality MGM and producer Anatole de Grunwald brought to the production. Director Anthony Asquith had distinguished himself in the early years of talking films as England's only serious rival to Alfred Hitchcock. He had brought George Bernard Shaw to the screen with smashing results when he co-directed Pygmalion (1938) with the film's star, Leslie Howard. Grunwald's co-writer, Karl Tunberg, was an MGM contract writer with another major credit to his name that year, the studio's blockbuster epic Ben-Hur (1959). And cinematographer Robert Krasker was returning to the kind of moody black-and-white photography that had brought him an OscarÆ in 1949 for The Third Man.

As the opposing barristers, Asquith cast two of England's best character actors. Prosecuting attorney Robert Morley had won an OscarÆ nomination as Louis XVI in MGM's lavish Marie Antoinette (1938) and would go on to acclaimed roles as Katharine Hepburn's brother in The African Queen (1951) and the eccentric food critic in Who Is Killing the Great Chefs of Europe? (1978). At the defense table was Wilfrid Hyde-White, who had worked with Asquith on The Demi-Paradise (1943) and The Winslow Boy (1948), but is probably best remembered as Col. Pickering in the musical version of Pygmalion, My Fair Lady (1964). Making her film debut in Libel is Millicent Martin, future star of the hit musical Side by Side by Sondheim and Lili Faversham on Days of Our Lives. Also near the bottom of the cast list is Robert Shaw, the acclaimed actor and playwright who would score as Henry VIII in A Man for All Seasons (1966) and as Captain Quint in Jaws (1975).

Director: Anthony Asquith
Producer: Anatole de Grunwald
Screenplay: Anatole de Grunwald & Karl Tunberg
Based on the play by Edward Wooll
Cinematography: Robert Krasker
Art Direction: Paul Sheriff
Music: Ben Frankel
Cast: Dirk Bogarde (Sir Mark Loddon, Frank Welney, Prisoner No.15), Olivia de Havilland (Lady Maggie Loddon), Paul Massie (Jeffrey Buckenham), Robert Morley (Sir Wilfred), Wilfrid Hyde-White (Hubert Foxley), Millicent Martin (Maisie), Robert Shaw (1st Photographer).
BW-100m. Letterboxed.

by Frank Miller

Libel

Libel

Nobody does courtroom dramas quite like the British - but then, nobody has a courtroom system quite like theirs either. From cagey barristers to last minute surprises, Libel (1959), an adaptation of Edward Wooll's 1935 Broadway hit, captures all the high points of the genre, and throws in an intriguing mystery to boot - how can you prove your own identity when you're not too sure of it yourself? After years as a matinee idol in comedies and romances, Dirk Bogarde - often dubbed the British Rock Hudson - demonstrated his dramatic chops as a British nobleman whose life of ease is threatened by accusations that he's really an imposter. His triple role (or is it?) as the British lord, a look-alike actor and the man one of them may have become in a World War II POW camp led to more challenging roles for the British star. He would go on to win the British Academy Award as the sinister butler in Joseph Losey's The Servant (1963) and a straying husband in John Schlessinger's Darling (1965). For Bogarde's leading lady, Olivia de Havilland, Libel brought her the kind of glamorous part she had hoped to settle into when she re-located to Paris in the mid-50s. Not only did she get to trot out her best stage diction as the proper British lady led to doubt her own husband, but she got the producers to hire Christian Dior to design her costumes. But her transformation into a grande dame may have been too much too fast. As the New York Times critic noted, she seemed to be "balancing Big Ben on her hat." The performance would come back to haunt her in future years, with other critics complaining that she seemed to be giving testimonials rather than acting. But any qualms about the leading lady were more than balanced by the quality MGM and producer Anatole de Grunwald brought to the production. Director Anthony Asquith had distinguished himself in the early years of talking films as England's only serious rival to Alfred Hitchcock. He had brought George Bernard Shaw to the screen with smashing results when he co-directed Pygmalion (1938) with the film's star, Leslie Howard. Grunwald's co-writer, Karl Tunberg, was an MGM contract writer with another major credit to his name that year, the studio's blockbuster epic Ben-Hur (1959). And cinematographer Robert Krasker was returning to the kind of moody black-and-white photography that had brought him an OscarÆ in 1949 for The Third Man. As the opposing barristers, Asquith cast two of England's best character actors. Prosecuting attorney Robert Morley had won an OscarÆ nomination as Louis XVI in MGM's lavish Marie Antoinette (1938) and would go on to acclaimed roles as Katharine Hepburn's brother in The African Queen (1951) and the eccentric food critic in Who Is Killing the Great Chefs of Europe? (1978). At the defense table was Wilfrid Hyde-White, who had worked with Asquith on The Demi-Paradise (1943) and The Winslow Boy (1948), but is probably best remembered as Col. Pickering in the musical version of Pygmalion, My Fair Lady (1964). Making her film debut in Libel is Millicent Martin, future star of the hit musical Side by Side by Sondheim and Lili Faversham on Days of Our Lives. Also near the bottom of the cast list is Robert Shaw, the acclaimed actor and playwright who would score as Henry VIII in A Man for All Seasons (1966) and as Captain Quint in Jaws (1975). Director: Anthony Asquith Producer: Anatole de Grunwald Screenplay: Anatole de Grunwald & Karl Tunberg Based on the play by Edward Wooll Cinematography: Robert Krasker Art Direction: Paul Sheriff Music: Ben Frankel Cast: Dirk Bogarde (Sir Mark Loddon, Frank Welney, Prisoner No.15), Olivia de Havilland (Lady Maggie Loddon), Paul Massie (Jeffrey Buckenham), Robert Morley (Sir Wilfred), Wilfrid Hyde-White (Hubert Foxley), Millicent Martin (Maisie), Robert Shaw (1st Photographer). BW-100m. Letterboxed. by Frank Miller

Quotes

Trivia

The original Broadway production of "Libel", produced in 1935, was directed by Otto Preminger, years before he made his Hollywood debut as a film director.

Notes

In the opening credits, Olivia De Havilland's name is listed first. In the closing credits, Dirk Bogarde is listed first. The film was based on the play Libel!, which was set during World War I. Colin Clive starred in the play's New York run, which opened in December 1935. Several reviews of the film used the play's title, but the film's title credit does not include punctuation. According to the Hollywood Reporter review, portions of the film were shot on the Marquis de Bath's estate in Wiltshire, England. Variety reviews added that some sequences were filmed at Woburn Abbey, home of the Duke of Bedford. The film received an Academy Award nomination in the Sound Recording category.

Miscellaneous Notes

Released in United States 1959

Film was inspired by the real life story in France that later was filmed as "The Return of Martin Guerre".

Released in United States 1959