Peter Finch - an appreciation.
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Archived from the IMDb Discussion Forums — Peter Finch
osullivan60 — 17 years ago(February 21, 2009 06:44 AM)
This was done on the Classic Film Board, but is now vanishing down the list of threads, so I am re-posting it on here in case other Finch admirers would like to read and comment.
Following on from appreciations on Dirk Bogarde, Sophia Loren, Kay Kendall, Jacques Demy [which are now on their imdb message boards] and mini-appreciations on various people I like such as Glynis Johns, Claire Bloom, Julie Harris, Trevor Howard, Stewart Granger, Anouk Aimee, Romy Schneider, Lilli Palmer, Anita Ekberg, Belinda Lee, Michael Craig, David Hemmings, Flora Robson and Jeffrey Hunter, here is a new appreciation on Peter Finch.
Despite being one of the finest actors of his generation, Peter Finch will be remembered as much for his reputation as a hard-drinking, hell-raising womaniser as for his performances on the screen, begins Finchs biography details on his imdb page. Finch is perhaps now best remembered for his barnstorming turn as Howard Beale the mad prophet of the airwaves in Sidney Lumets NETWORK, for which he won the best actor Oscar in 1977, the only one to be awarded posthumously though that may change if, as predicted, Heath Ledger wins this year.
Finch was actually born in London in 1912 but moved to Australia where he gradually got into acting. Discovered by the Oliviers during their tour of Australia in 1948 he returned to London with them, under contract to Olivier. One of the pleasures of watching English movies of the 50s is seeing him working his way up to becoming one of the most interesting leading men around.
Early roles included the Sheriff in ROBIN HOOD AND HIS MERRIE MEN (52) and the arch-villain in FATHER BROWN (or THE DETECTIVE) in 1954, Alec Guinness being the detective priest of the title. ELEPHANT WALK teamed him with Elizabeth Taylor, a replacement for Vivien Leigh who had began the film but had suffered a breakdown. Finch had inevitably become involved with Leigh, as he did with Kay Kendall [before she met Rex Harrison] with whom he appeared in the 1955 comedy SIMON AND LAURA, a still funny satire on a famous theatrical couple (shades of the Oliviers perhaps) venturing into a tv sit-com. Its so perfectly mid-50s Rank Organisation fare with those great supporting players of the time.
A TOWN LIKE ALICE in 1956 cemented his reputation, as did war films like BATTLE OF THE RIVER PLATE, and films set in Australia like THE SHIRALEE (about an itinerant drover and his child). A childhood memory is being taken to see ROBBERY UNDER ARMS in 1958, almost a western about outlaws in the early days of Australia exciting stuff.
THE NUNS STORY in 1959 remains a timeless classic well-crafted by Zinnemann and was an enormous hit at the time, his role as Dr Fortunati being a perfect foil for Audrey Hepburns Sister Luke, as they work in the Congo hospital. Like Edith Evanss mother superior it is a small but pivotal role.
This was followed by perhaps his most important role at the time: Oscar in THE TRIALS OF OSCAR WILDE, a fascinating and intelligent working of the Wilde story and for a movie made in 1960 about as frank as it could be. Finch was a magnificent Wilde capturing the facets of the writer knowingly facing his destiny, and winning a BAFTA award. Yvonne Mitchell was the perfect Constance, and John Fraser as petulant a Bosie as Jude Law in the 90s Stephen Fry film. There was another version of the Wilde story made at the same time in 1960 with Robert Morley (playing Wilde as Robert Morley), but the Finch version directed by Ken Hughes won hands down, with handsome period detail. James Mason and Nigel Patrick shone as opposing barristers and Lionel Jeffries was a malevolent Marquis of Queensbury. The film still holds up perfectly today.
This was followed by another one set in Africa THE SINS OF RACHEL CADE in 1961 where Angie Dickinson is the missionary with a mission. Having seen this for the first time this week it was quite engrossing with Finch as ever providing solid support as the French Colonel. There was also an Alan Breck in a Disney KIDNAPPED, and a gritty English political film NO LOVE FOR JOHNNIE directed by Ralph Thomas with Finch as the labour politician compromising his values, the excellent cast included Billie Whitelaw and Stanley Holloway.
Some solid leading roles followed as Finch was breaking into American films, mostly set in Europe: I have not seen IN THE COOL OF THE DAY with Angela Lansbury and a young Jane Fonda, but I THANK A FOOL with Susan Hayward set partly in Liverpool and in Ireland is certainly an oddity where Hayward is a doctor convicted of a mercy killing by judge Finch who then hires her when she comes out of prison to look after his mentally disturbed wife, with inevitable results
Two good ones followed: Jack Claytons THE PUMPKIN EATER in 1964 where he is Anne Bancrofts husband growing exasperated with her constant child-bearing and involved with a young Maggie Smith. It was played intensely by all concerned, including James Mason as a very annoyed husband