The Go-Between

The Go-Between is a spellbinding 1971 British classic featuring the formidable talents of Julie Christie, Alan Bates, and Dominic Guard. Drawing its inspiration from L.P. Hartley’s renowned novel of the same name, the film was directed by Joseph Losey, while the screenplay was adeptly handled by none other than eminent playwright Harold Pinter.

Set during the opulently stifling Edwardian summer of 1900 in Norfolk, England, The Go-Between spins a compellingly poignant tale of forbidden love, class discrepancy, and lost innocence. The story unfolds through the eyes of Leo Colston, a 12-year-old underprivileged boy from a lower-middle-class family, who is invited to spend his summer vacations at the grand English country estate of his more affluent school friend, Marcus Maudsley. It is in this exotic setting of aristocracy and privilege that young Leo finds himself inadvertently entangled in a web of clandestine passions and the idiosyncratic realities of British high society.

As the film goes on to explore the gilded pathways of the Maudsley mansion, the landscapes become just as multifaceted as its inhabitants. The sprawling estate, beautifully captured through Gerry Fisher’s evocative cinematography, provides a fitting backdrop to unravel the emotions and sensitivities of the time.

Standing at the heart of this tapestry, the character of Leo Colston is portrayed by Dominic Guard in what's undeniably a performance defined by sensitivity and nuanced perception. Leo, by way of innocence and unfamiliarity with the code of class and behavior expected in high society, becomes an unwitting messenger in a covert love affair. This love affair involves the captivating Marian Maudsley, Marcus's older sister (played by Julie Christie), who's betrothed to Hugh, a wealthy but dull viscount, and the rustic, attractive tenant farmer Ted Burgess (Alan Bates). The two, bound by passionate love but separated by their social standings, use Leo as a means of communicating their repressed love letters.

The exquisite costumes and production design of The Go-Between recreate the Edwardian era in gorgeous detail. Pinter's craft is on full display as he creates charged silences to communicate the undercurrents driving the characters’ actions. The slow-paced narrative, filled with nuanced subtleties, creates a commendable tension within the viewers' minds, making it a masterclass in thoughtful and provocative storytelling.

In The Go-Between, various themes are subtly insinuated and gracefully enveloped in the narrative. The pervasive distinctions of social class, the skepticism towards change, the bespeaking paradox of innocence and corruption, and the heart-wrenching consequences of harboring secrets —all these motifs make the film a reflective commentary on the epoch depicted.

Julie Christie's portrayal of the complex, enigmatic Marian is a noteworthy feat. Christie brings to life a character that is by no means easy to render—a woman caught between her own pulsating desires and the norms of her societal milieu. As for Alan Bates as Ted Burgess, he convincingly embodies the role of the earthy man of the soil, bringing a raw, undeniable appeal that is believably irresistible. As these characters navigate their circumstances, Leo's doe-eyed observance and his uncomfortable role as the go-between, provide an intense examination of the cost of forbidden love.

No stranger to awards and recognitions, The Go-Between won the prestigious Palme d'Or at the 1971 Cannes Film Festival. It was also nominated for the BAFTA for Best Art Direction, Costume Design, and the Best Supporting Actress category for Margaret Leighton’s role as the imperious Mrs. Maudsley, Marian and Marcus's mother.

The film’s enriching score by Michel Legrand, the picturesque English countryside, and the superb performances by the cast lend it an impalpable air of nostalgia and melancholy. The Go-Between is more than just a period drama; it is a contemplative introspection of a time gone by, a passionate tale of love and deception, and an empathetic narrative terrifyingly punctuated with heartbreak and disillusionment. It skillfully maneuvered through the territories of remorse, regret, and most importantly, memory - it truly encapsulates L.P. Hartley's iconic opening lines, “The past is a foreign country: they do things differently there.”

Indeed, The Go-Between is an unforgettable piece of film history that stands to be cherished for the subtle way it transposes the narrative from a nostalgic reminiscence about the past into an insightful exploration of the human condition. It beautifully weaves together the threads of love, class, and morality into a thought-provoking cinematic experience that captivates viewers with its authentic depiction of a lost era, accentuating the enduring power of nostalgia.