Joseph Losey's Work

For one thing, the audience sack outs for certain(p) who is guilty from the first and so never questions whether or not the young man is guilty--we know him to be innocent. We too know that the stick quickly fastens on the correct grampus. The delineation consequently becomes both a race against time and a mental battle between the father and the killer.

The film makes a healthy contrast between the father and the killer, one that in any(prenominal) objective sense would seem to give the game to the killer. The father is a man whose life is in ruins, while the killer seems successful in every way. Stanford, the killer, is a successful industrialist who has lift through the force of his own ad hominemity and his willingness to do whatever he deems necessary to achieve his goals, clearly even to the floor of murder. The one atomic number 18a of failure for Stanford is his marriage--he has married a cleaning woman socially superior to himself in order to achieve a higher place in Britain's stratified society, but he does not love her and is constantly irked by her pretensions and her condescension toward him. This per paroleal failure is the one link he has with Graham. Stanford is always pursuance to run every situation, and his wife is one thing he cannot lock. The fact that he takes to Graham as he does reflects his regard to control this situation as well. He knows who Graham is, and he kn

ows Graham is after him. Yet, he keeps Graham nearby, watching him and--he thinks--controlling him.

Losey, Joseph. Chance Meeting. Paramount, 1959.

Losey's later films seem dissimilar on the surface from these earlier works, but there are themes found in Time Without Pity that can also be found in The Go-Between (1970) and The Romantic Englishwoman (1975), for example. there are clearly considerations of class difference and societal control in these films, as there is in the somewhat opposite Mr. Klein (1977), and there are intimations of the intruder in each film as well. In The Go-Between, the young son who helps the lovers is a theatrical role of intruder into the homes of the two, and the lover is himself an intruder into a social class that rejects him so that he kills himself.

The theme of the individual against the group is use here, and the group has all the power over the lives of the lovers, leaving the boy disillusioned as he faces his own future with the intimacy that it will be shaped more by right(prenominal) forces than by his own desires and abilities.

Graham, for his part, is a man with no control at all. He has failed in his life so on the whole that he seems an unlikely candidate to do anything for his son. Yet, he undertakes the designate with a single-mindedness that is ultimately unstoppable. The obsession this father has for saving his son overcomes his natural tendency to hide from life in a bottle. Finally, he has to surrender his life to save his son's, a hand that also becomes an inversion of the expected outcome for his son--that is, what was supposed to be the remainder day in the young man's life becomes the last day in his father's life.

Losey, Joseph. Time Without Pity. Harlequin, 1957.

Losey, Joseph. The Go-Between. Columbia, 1970.

One of Losey's last films in America before his exile to Europe was The Prowler, another disgust film which creates a sense of social oppression and which uses the melodrama of the plot of ground as a sprin
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