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LANGRISHE, GO DOWN Send This Review to a Friend
Seeing the rediscovered gem "Langrishe, Go Down" makes one wonder what other past works of value lie waiting to be revealed. Castle Hill Productions has done us a service by acquiring the 1978 drama that appeared on British television but has never had a theatrical release, at last rectified with an initial run (July 17-30) at the Film Forum. The film, adapted by Harold Pinter from an Aidan Higgins novel, teams Judi Dench and Jeremy Irons, both so wonderfully young at the time, in glowing performances that reveal how very talented they already were all those years ago. The film, directed by David Jones with great feeling for the delicate subject matter, is worth seeing for its overall story quality but especially for the acting. As a bonus Harold Pinter and Margaret Whiting are also in the cast.
Dench portrays Imogen Langrishe, one of three sisters struggling to maintain an impoverished estate (shades of Chekhov) in Ireland. The family has had money in the past, but its fortunes have declined and the place must be sold. Helen (Annette Crosbie) is the stern sister who looks after the finances and makes the decisions, while Lily (Susan Williamson), the third sister, seems unaware of what is happening economically and romantically.
The focus of the pre-World War II story, told by interweaving flashbacks with its present, is primarily on Imogen, who hungers for a love relationship and secretly nurtures her sexual desires. Along comes Irons as Otto Beck, a German student and self-absorbed intellectual who rents a cottage from the Langrishes as a place to live and work on his thesis linking Irish mythology to Goethe. Full of himself, Otto pontificates on his ideas about literature and philosophy. Imogen is extremely vulnerable, and Otto sweet talks her into a romance that she so desperately needs. But he soon begins to tire of her and what she demands of the relationship. Irons, with a convincing German accent, is very good at mixing Otto's charm, intellect, ego and at times tenderness that is sincerely felt. But basically Otto is taking advantage of the situation, including a good deal in which he doesn’t cough up the rent once he begins sleeping with Imogen.
The film mainly belongs to Dench in her delineation of Imogen's longings, sexuality, girlish innocence, warmth and pride that leads her to force a self-defeating confrontation when she realizes the relationship is transitory and on the verge of ending. It may be the only love that enters her life and the stakes are so much higher for her than for Otto, who is most involved with his work and future and knows he can have women casually without the commitment that Imogen needs.
There is a strong drinking scene with Imogen, Otto and his acquaintance Barry (Pinter), together with Barry's lady friend Maureen (Whiting). It is a jolt to see Whiting looking as young as she does here and playing a woman getting increasingly soused and expressing the hostility that she harbors. It's yet another memorable performance, even though relatively brief.
This is ultimately a very sad film, and director Jones gives it both realism and lyricism, a combination also reflected in the performances. Although there are moments of abruptness due to the television-geared format, "Langrishe, Go Down" can stand on its own in theater showings, of which there should be many. A Castle Hill Productions release.
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