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A few months ago, here on Streamline, I wrote about David Lean’s film adaptation of Noël Coward’s Blithe Spirit in 1945 (you can read it here), and how it is among very few films I consider perfect. As I’ve been reintroduced to much of Lean’s early directorial efforts, I have come to realize that he rarely had missteps throughout his career, making at least eight truly “perfect” films. Needless to say, and without any hesitation, I consider David Lean to be one of the greatest directors of all time. And while I am well aware that I am not alone in this opinion, as Lean is highly regarded amongst both critics and film lovers, I believe that his earlier work has been seriously undervalued, especially when held up against the sweeping epics for which he is best known, such as 1957’s The Bridge on the River Kwai and Lawrence of Arabia from 1962.
There’s no doubt these epics are cinematic masterpieces, defining Lean’s career and cementing his artistic contributions to the early years of large format theatrical presentations, such as 70mm. (One of several formats primarily created to compete with the rising popularity of television programming.) These contributions cannot and should not be ignored. But in his mastery of filmmaking throughout the course of his career, and the early development of what would later be recognized as his truly unique directorial style (one which heavily relied upon stunning visuals to drive the story), Lean cut his teeth on more intimate, character-driven stories like Blithe Spirit and Brief Encounter, also made in 1945 (and written about here). He managed to not only tell a fascinating, dialogue-heavy story, but he also cleverly inserted his unique brand of visual storytelling whenever he possibly could. This is none more evident than in Lean’s rarely seen 1949 drama The Passionate Friends.
Based on the 1913 novel by author H.G. Wells, The Passionate Friends is a heartbreaking story about romance, regret and sustaining love. While not at all related to Brief Encounter, Lean’s adaptation of Wells’s story feels very much like a spiritual sequel to the earlier film, which starred Celia Johnson and Trevor Howard. Also starring Howard, opposite Ann Todd and Claude Rains, The Passionate Friends recounts the romance between Mary and Steven (Todd and Howard), which began when the two lovers were very young. Afraid to commit to Steven and marry him, Mary calls off their relationship, and eventually marries the much older businessman Howard Justin, played by Claude Rains. The relationship between Mary and Howard is overall a good one, but Mary knowingly exchanged true love with Steven for stability and affection with Howard. Several years into her marriage to Howard, Mary is reacquainted with Steven after a chance meeting. Although Howard is well aware of their romantic past, he approves of Mary developing a friendship with Steven. Howard believes that Mary is truly happy in their marriage, and has no interest in rekindling the romance with her former beau. But Howard is wrong in his assumptions, and before long Mary and Steven fall head first into a secret love affair, picking up where they left off several years before.
Told in flashback, with some voice narration given by Todd (much like Brief Encounter), The Passionate Friends is a bittersweet account of the complicated nature of love and friendship, and the differences between the spontaneous, fleeting nature of romance and the loving devotion required for a successful relationship and continued marriage. At first, Howard believes romance to be an unrealistic and unnecessary part of marriage. Instead, he much prefers loyalty and friendship, which unsurprisingly, doesn’t meet all of Mary’s needs, ultimately provoking her to seek an affair with Steven. It isn’t until his notion of happiness is threatened by Steven’s lingering presence, which has consumed every single part of Mary’s being, that Howard begins to see the importance of passionate love in their relationship.
David Lean tells a tragic love story which, much like Brief Encounter, delicately balances the difficult ethics of an extra-marital affair, without downplaying the emotional toll of sacrificing a satisfying romance. And unlike other romantic dramas, this story forsakes the typical tacked-on happy ending for one that is far more realistic; an ending that is both devastating and joyous. Much like real love and relationships, The Passionate Friends is messy and complicated and– most importantly–honest. These qualities, in addition to Lean’s exceptional talents behind the camera, make The Passionate Friends another one of the director’s many perfect films.
Jill Blake
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