If you ever need an example of a complete arthouse film, then Joseph Losey's "Accident", written by the legendary Harold Pinter, is the perfect choice. It is subtle, low-key and often very quiet. In fact, the music becomes so profound that it is almost like a character in the film. The three central performances are Dirk Bogarde, Michael York and Jacqueline Sassard (with strong support by Stanley Baker), playing seemingly content people with secret delusions and overwhelmed by the general boredom of life. The film starts with a fatal car accident and flashes back to the friendship growing between Bogarde, student York, and York's fiance, Sassard. The enthusiastic York seems to want Bogarde's constant approval, but is unaware that Dirk is gaining strong feelings for his fiance. The tragic situation that results from this ethical tail is worth dealing with all of the quiet, slow moments to get you, and will result in a major shock at the end.
This is a film that will not be for all tastes. There are points where the dialogue is few and far between, but when the characters speak, it is profound and sheer poetry. The camera works around the sets to make them come more alive than the three characters, starting off with the shot of Bogarde's house over the opening credits to where you suddenly hear the speeding car and the crash within seconds after the credits end. The story flashes back to seemingly innocent times that shows the characters baring their souls unknowingly and the tragedies that result from their failings manipulated by circumstances beyond their control.
There is a sequence in a large Hall with beautiful statues where a group of men, including York and Bogarde, play a variation of a game that resembles football, basically the men fighting over what appears to be a large pillow. for such an insignificant sequence to become such a stand out in my memory makes this film surprisingly beautiful in so many ways. The colors are glorious and the camera seems to be a character witnessing the action through the lens of their own eyes. The performances are all superb, soft-spoken and subtle, and under the direction of Joseph Losey, this ends up being an amazing little quiet film that you have to really concentrate on and try to avoid looking away from.
This is a film that will not be for all tastes. There are points where the dialogue is few and far between, but when the characters speak, it is profound and sheer poetry. The camera works around the sets to make them come more alive than the three characters, starting off with the shot of Bogarde's house over the opening credits to where you suddenly hear the speeding car and the crash within seconds after the credits end. The story flashes back to seemingly innocent times that shows the characters baring their souls unknowingly and the tragedies that result from their failings manipulated by circumstances beyond their control.
There is a sequence in a large Hall with beautiful statues where a group of men, including York and Bogarde, play a variation of a game that resembles football, basically the men fighting over what appears to be a large pillow. for such an insignificant sequence to become such a stand out in my memory makes this film surprisingly beautiful in so many ways. The colors are glorious and the camera seems to be a character witnessing the action through the lens of their own eyes. The performances are all superb, soft-spoken and subtle, and under the direction of Joseph Losey, this ends up being an amazing little quiet film that you have to really concentrate on and try to avoid looking away from.