Producers: Ian Dalrymple, Peter Proud. Executive producer: Ian Dalrymple. Made by Ian Dalrymple's Wessex Film Productions. Presented by J. Arthur Rank.
Copyright 1948 by Independent Producers Ltd. Never theatrically released or broadcast in the U.S. (but made available to Canadian television stations through T. of C.). U.K. release through General Film Distributors: 11 November 1948. Australian release through G-B- D/20th Century-Fox: 6 October 1949. 9,738 feet. 108 minutes (Available on a very good Spirit Entertainment DVD).
SYNOPSIS: The period is the eighteen eighties. Primly brought up Esther takes a job as servant in a country estate where racehorses are trained. Esther succumbs to the 'racier' atmosphere and also to the charms of footman William Latch, son of the housekeeper. She becomes pregnant, but Latch has eloped with the niece of his employer. Esther is forced to have her baby in the workhouse and brings him up alone despite the condemnation of respectable society. Eventually, she agrees to marry good Fred; but Latch turns up again, and persuades Esther to marry him for the sake of their son Jackie. Always a gambler, his fortunes decline.
NOTES: Bogarde's third film. He appeared as an extra in a crowd scene of the 1939 George Formby comedy Come On George, and had a bit part as a policeman in the 1947 Dancing With Crime.
COMMENT: I love this film. Although it received mixed - verging on negative - reviews and was none too popular at the almighty box- office, I think it a grand realization of Moore's crowded-with- fascinating-characters, incident-paced yet enthralling and realistic novel. Most expansively produced too on a scale seldom seen in British films.
Although Bogarde claims he received no guidance from either director, he gives to my mind the best performance of his entire career. It's a difficult role with many facets, but Bogarde always plays with such complete assurance and conviction, sincerity and charm that we are completely won over -- even when the character does and says things that are not wholly engaging.
Kathleen Ryan also manages the transition from youthful innocence to a more jaundiced maturity with total credibility, whilst always engaging our total sympathy.
It would be wrong to single out one or two – or even five or six – in the long roster of brilliant support players. Even the crowd artists carry off their fleeting cameos with such flair it's hard to believe this rowdy, jostling Derby Day is not the real thing. Technically Esther Waters is a marvel of fine craftsmanship. Superb photography, breathtaking sets, forceful direction and astute film editing join with the superlative efforts of the players to bring this teeming script to vivid life.
Copyright 1948 by Independent Producers Ltd. Never theatrically released or broadcast in the U.S. (but made available to Canadian television stations through T. of C.). U.K. release through General Film Distributors: 11 November 1948. Australian release through G-B- D/20th Century-Fox: 6 October 1949. 9,738 feet. 108 minutes (Available on a very good Spirit Entertainment DVD).
SYNOPSIS: The period is the eighteen eighties. Primly brought up Esther takes a job as servant in a country estate where racehorses are trained. Esther succumbs to the 'racier' atmosphere and also to the charms of footman William Latch, son of the housekeeper. She becomes pregnant, but Latch has eloped with the niece of his employer. Esther is forced to have her baby in the workhouse and brings him up alone despite the condemnation of respectable society. Eventually, she agrees to marry good Fred; but Latch turns up again, and persuades Esther to marry him for the sake of their son Jackie. Always a gambler, his fortunes decline.
NOTES: Bogarde's third film. He appeared as an extra in a crowd scene of the 1939 George Formby comedy Come On George, and had a bit part as a policeman in the 1947 Dancing With Crime.
COMMENT: I love this film. Although it received mixed - verging on negative - reviews and was none too popular at the almighty box- office, I think it a grand realization of Moore's crowded-with- fascinating-characters, incident-paced yet enthralling and realistic novel. Most expansively produced too on a scale seldom seen in British films.
Although Bogarde claims he received no guidance from either director, he gives to my mind the best performance of his entire career. It's a difficult role with many facets, but Bogarde always plays with such complete assurance and conviction, sincerity and charm that we are completely won over -- even when the character does and says things that are not wholly engaging.
Kathleen Ryan also manages the transition from youthful innocence to a more jaundiced maturity with total credibility, whilst always engaging our total sympathy.
It would be wrong to single out one or two – or even five or six – in the long roster of brilliant support players. Even the crowd artists carry off their fleeting cameos with such flair it's hard to believe this rowdy, jostling Derby Day is not the real thing. Technically Esther Waters is a marvel of fine craftsmanship. Superb photography, breathtaking sets, forceful direction and astute film editing join with the superlative efforts of the players to bring this teeming script to vivid life.