The Journey ( film) - Wikipedia
With Deborah Kerr, it's not the bare shoulders that matter. Six years later, she was filled with repressed attraction for Yul Brynner's bald, bare-chested is having a ghost-induced incestuous relationship with his younger sister – Kerr's look of. In Viertel wrote a play for Deborah, but it folded after a Kerr was starring opposite Yul Brynner, an old friend from The King and I, and. But Deborah Kerr, who has died of Parkinson's disease aged 86, . a lacklustre version of The King and I. Kerr and Yul Brynner redeemed.
A sick man in the back seat, who claims to be an Englishman called Flemyng, seems known to an aristocratic Englishwoman, Lady Ashmore, sitting in the front seat. The journey is difficult with diversions and roadblocks, some operated by Soviet troops and others by Hungarian insurgents.
At a small lakeside town close to the Austrian border, the passengers are removed from the bus by Major Surov, the local Russian commander.
After questioning them and impounding their passports, Surov orders they remain in the town's only hotel. He suspects the ailing Flemyng's passport is not genuine and develops a love interest in the attractive Lady Ashmore. It emerges that Flemyng is a Hungarian insurgent whom Lady Ashmore, his lover, is smuggling to safety.
Surov deduces both facts but does not act, hoping that Lady Ashmore will offer herself to him in exchange for safe passage into Austria.
Speaking good English, which Surov claims to have learned in Canada, he uses the trapped passengers as a sounding board for his views, arguing that Russians are human too and questioning the imposition of Marxism by military force.
However, with Flemyng getting weaker from what is revealed as an untreated gunshot wound, Lady Ashmore bribes a fisherman to take the two of them to Austria, across the lake under cover of darkness.
Surov deduces what is happening and captures them both.Deborah Kerr and Yul Brynner-clip 40
After getting Flemyng treatment by an army doctor, Surov sends Lady Ashmore back to the hotel. Under contract to Pascal, she was given the lead in in Love on the Dole and rapidly followed this excellent movie with Penn of Pennsylvania and then a plum role as Robert Newton's downtrodden daughter in the melodramatic Hatter's Castle - where she encountered her first husband, fighter pilot Tony Bartley, who was involved in the nearby filming of The First of the Few.
The film did not receive official approval or the critical acclaim now accorded it, and Kerr's film career paused as she toured and then went into the West End in Heartbreak House. She also worked for the forces' entertainment organisation Ensa throughout Europe, and again met Bartley.
They married in That year she returned to the screen, opposite Robert Donat in Perfect Strangers, where they play - delightfully - a couple transformed and humanised by their wartime experiences. She moved on to an interesting role in I See a Dark Stranger as an Irish girl who, through hatred of the English, spies for the Germans. Her love for a British officer Trevor Howard reforms her. Her only other screen work that year was in a short in aid of the Cinema and Television Benevolent Fund.
The best was yet to come. She played the pivotal role of Sister Clodagh, an insecure nun in charge of a Catholic missionary school Pinewood stood in - remarkably - for the Himalayas. Jealousy, passion, frustration and death become the order of the day in this timeless work.
A blend of repression, gentleness and inner turmoil was to feature in many later, often inferior, films but this remains a benchmark in her career. A modestly successful Hollywood debut was soon followed by If Winter Comes She was subsequently directed by one of the studio's top names, George Cukor, in a rather stodgy version of Robert Morley's stage success, Edward My Son Despite fine credits and the presence of the screen's greatest actor, Spencer Tracy, the film fails to ignite.
The studio began to use Kerr as decorative contract fodder opposite sturdy leading men and costume became the order of the day in such movies as King Solomon's MinesQuo Vadis and The Prisoner of Zenda She had the small role of Portia in Julius Caesar, but this movie - the best-ever screen treatment of Shakespeare - is remembered for Marlon Brando and John Gielgud, and not the refined Miss Kerr.
That year was, however, to prove a highlight, if not a turning point in her fortunes. Cast against her seemingly fragile type, she was formidable as the sexually rapacious officer's wife who has an affair with an NCO, played by Lancaster, at the time of Pearl Harbor in Today, the famous beach scene - indeed the whole adaptation of James Jones's brutal novel - seems somewhat tame.
Deborah Kerr - Telegraph
Not so in the early s. An underrated film, it suffers from a miscast, rather lightweight Van Johnson as the writer, but she and a fine British cast save the day. An attempt was made to revamp Eternity, with William Holden replacing Lancaster, in The Proud and the Profane before she went on to her biggest popular success: Kerr and Yul Brynner redeemed Walter Lang's rather staid direction and thanks to dubbing from Marni Nixon on the difficult passages and high notes, Kerr sang, danced and acted herself into a third Oscar nomination, and a box office smash.
This virtual two-hander reworks Huston's great success, The African Queen, with Robert Mitchum as the reprobate marine who meets his match in the seemingly demure nun.
Together they tackle the Japanese just as missionary Katharine Hepburn and drunk Humphrey Bogart had scuppered the Germans in the earlier movie. There were better parts and higher salaries than in the MGM days and Kerr moved on to Bonjour Tristesse and another spinster role in the botched version of Terence Rattigan's Separate Tables Only her old friend David Niven emerged with modest credit from this fiasco. Three duff movies followed before Zinnemann gave her a wonderfully rich part - opposite Robert Mitchum - in The Sundowners It proved one of the director's most relaxed and commercially successful films.
Kerr joined Mitchum and Grant again in a conventional reworking of the stage hit, The Grass is Greenerfollowed by an altogether less happy experience. At best The Naked Edge was a routine thriller, made painful by Gary Cooper, already ill with cancer, in his last role and the last year of his life. The highlight of this British period came the same year when she again played a governess - this time in Jack Clayton's version of Henry James's The Turn of the Screw.
Transformed into a handsome CinemaScope film as The Innocents, it showed that Kerr was as good as the material allowed and often better.
Her role as the haunted and taunted governess gave perfect rein to her upright demeanour and hidden depths. After a dull version of The Chalk Gardenshe was rescued by John Huston and cast as the poet spinster in the steamy The Night of the Iguana After this she sank without trace in a Frank Sinatra vehicle, Marriage on the Rocksand then made a trio of films opposite Niven, her Swiss-based neighbour.
They failed to salvage the thriller Eye of the Devilbut had some fun working with Huston again on the chaotic James Bond spoof, Casino Royale This was followed by a dated comedy, Prudence and the Pill