Outcast of the Islands (1952)

I had no idea before watching that OUTCAST OF THE ISLANDS was based on a novel by Joseph Conrad; I might have avoided watching it had I known. I'm not a fan of Conrad after I struggled to read HEART OF DARKNESS, which I found pretentiously written and a chore to struggle through. OUTCAST OF THE ISLANDS explores a tale that sees the author on familiar ground, telling of an ordinary man driven out of his mind by the wild passions of the exotic Far East.The film is set in and around some trading ports in an unnamed Eastern country, probably Malaya or the like. Trevor Howard plays a roguish character who begins the film by being sacked and then takes up a new position in another location, where he quickly falls for the charms of a native woman. Robert Morley has a splendid role as a stuffy ex-pat who crosses swords with Howard and the 'hammock' scene is by far the most memorable of the film.Sadly, the rest of it is a bit of a bore. The ending is dramatic but it takes a long time to get there and it doesn't help that the writers give you nobody to root for. Ralph Richardson appears in the production so infrequently that he might as well be in a cameo. As ever, watching a bunch of British actors "browned up" to play natives dates this quite considerably. I like Howard when I've seen him in the likes of THE CLOUDED YELLOW but his hateful character here is too off-putting. I know Carol Reed made some well-remembered films but this certainly isn't one of them.

A batty colonial Third Man, as raffish thief Trevor Howard winds up at a trading outpost, where he falls for a female warrior (Kerima) and proceeds to betray his best friend (Ralph Richardson). This strange, intense drama – complete with broad comic interludes – lacks a consistency of tone, oscillates between profundity and pomposity (though some of the commentary on imperialism is fascinating) and is too low-budget to realise its ambitions, leading to continuity problems and some iffy back-projection. But it has a whole deck of wild cards that make it a must-see for fans of classic British film. Where else would you get to watch Robert Morley trussed up in a cocoon-like hammock, swinging, whooping above a bonfire? Or Richardson – in full Captain Birdseye make-up – trudging up a mountain, unsure whether to shoot or lecture his protégé? Indeed, much of the acting has to be seen to be believed, with a masterclass in madness from Howard, a poignant part from Richardson, Morley's bilious turn as a barking, greedy trader, and one of Wendy Hiller's rare film appearances: impossibly touching, in what could have been a hackneyed part, as the unhappily-married woman looking to trade in one bastard for another. Strange, then, that Reed sometimes gets sidetracked with devious George Coulouris (a Mancunian of Greek heritage, wearing a lot of slap) and his band of colonial rebels – a supporting story that's a bit too simplistic to really engage. This Conrad adaptation is a film of rough edges and odd diversions, but it's very interesting, and at it's best, it's just great.

I haven't read the Joseph Conrad novel that forms the basis for this film, but regardless of whether or not it is true to the source material, Outcast of the Islands is a remarkable film and a sterling example of pure cinema. Trevor Howard delivers the greatest of his many fine performances as the morally compromised Willems, who finds himself stranded on a remote Indian Ocean trading outpost. His malign influence soon infects all around him, including fellow English ex-pat Almayer (Robert Morley, also in magnificent form) and crafty local Babalatchi (George Coulouris). Willems finds himself enthralled by native girl Aissa (exotic Algerian-born actress Kerima), the daughter of the local chieftain, but finds his lust turned against him by an Arab trader (Dharma Emmanuel) eager to get a slice of the trading action. William Fairchild's screenplay is erudite, sharply written, and probably went miles over the heads of most 1950s audiences, as it implicitly confronts issues of sex, race, and imperialism at a time when Britain was just beginning to disassemble its Empire. Ted Scaife and John Wilcox share credit for the film's cinematography (it's my guess that one went on location to Sri Lanka whilst the other stayed home to shoot interiors), and their work is frequently stunning, capturing indelible images of tropical life: boats skimming across the water, pounding rainstorms that seem to melt whatever they touch, natives intently and quizzically watching their white guests. But it's Howard's performance that will stay with you, as he transforms from canny con-man to obsessed fool (is it only coincidence that the object of his affection shares the name of H. Rider Haggard's all-powerful She?) to power-mad villain with consummate ease. And I would be remiss not to mention the understated performance of Wendy Hiller as Almayer's charity case wife, and little Annabel Morley's turn as spoiled six-year old Nina--young Annabel seems to have had a great time working with her Daddy! A truly great work of art, Outcast of the Islands is crying out for rediscovery and critical reassessment: I was at turns reminded of films such as Lord of the Flies, Salt of the Earth, Woman in the Dunes, and even Apocalypse Now, all films that came AFTER what is, arguably, director Carol Reed's finest hour. It's essential viewing for anyone who loves the art of movie-making.

This movie got short shrift critically, because it followed Carol Reed's three greatest films, "Odd Man Out," "The Fallen Idol," and "The Third Man." It's been a while since I saw it, but if you get a chance and you're a fan of Reed's adventurous filmmaking, check it out. A riveting performance by Trevor Howard -- this, plus his performances in 3rd Man and Brief Encounter show an astonishing range. Robert Morley is wonderful as well.My most memorable moments that still haunt me years after I saw the film: Morley "singing" a lullaby to his daughter ("Schlaf, kindchen, Schlaf") as Howard approaches in the night -- and said daughter calling "Pig!" after Howard's character later in the same scene. The bonfire, and Morley's torture. And Howard spotting Kerima standing in the water among the posts -- beautiful photography.An unjustly forgotten film. May it play at a repertory theater near you.