User Reviews

Though I gave the 1935 version of Dickens' "A Tale of Two Cities" a higher rating (before seeing this version), I'd have to say that this film, directed by Ralph Thomas, is probably better for the most part. This movie, done in black and white, captures the atmosphere of the Dickens novel - the filth and the cruelty - beautifully. No Hollywood gloss here. The cast is strong: Dirk Bogarde, Dorothy Tutin, Donald Pleasance, Ian Bannen, Christopher Lee, Alfie Bass.

Though Sydney is one of Ronald Colman's great roles, it also proved to be a great role for Dirk Bogarde. As much as I love Ronald Colman, he can't quite help but come off as noble, whereas, you really could believe that Bogarde was a drunk and a waste before his final moments. Both men had the great gentleness required for the role. The end of this particular adaptation is very simple and beautiful.

I highly recommend both versions. This one, I think, is closer to the Dickens novel.

This is a straightforward version shot in black and white with some location shooting at Loire Valley in France.

Pinewood Studios is used effectively enough, it is uniformly well acted and Bogarde gives an effective enough performance as the lead and a young Christopher Lee is a hiss-able French Aristocrat.

The story deals with the strands of the two most notable characters in the novel by Charles Dickens. Charles Darnay and Sydney Carton. Darnay is a French aristocrat who turns his back to the life of wealth and privilege but falls victim to the indiscriminate wrath of the revolution when the reign of terror begins.

Carton is an English barrister with a taste for drink who attempts to redeem his misspent life out of his unrequited love for Darnay's wife.

There is not much humour in the film because of the subject matter but the pared down story does do the film justice.

Dirk Bogarde was sufficiently established for Rank to allow him to star as Sidney Carton in this adaptation of Charles Dickens' classic novel

With someone of Bogarde's track record in the lead Betty Box could afford to gamble by casting the distinguished stage actress Dorothy Tutin - then young enough to be described as "a pretty little doll" - as his leading lady.

It's pretty perfunctory, and Bogarde's certainly no Ronald Colman, but he's louche enough at the outset, Rosalie Crutchley is a perfect Madame Defarge and Christopher Lee is a fine substitute for Basil Rathbone in the earlier version as the Marquis St. Evremonde; while it's fun to see 18th Century France peopled by such obviously British actors as Cecil Parker, Athene Seyler, Ian Bannen Leo McKern, Alfie Bass and Donald Pleasance.

This version of Charles Dickens' classic "A Tale of Two Cities" betters the 1935 film in some ways, and equals it in others. Alas, the best laid plans, and the worst laid plans, add up to something approaching what we already had. Like the (still) more famous MGM version, "Rank" (the British studio) hits the main plot points, and falls a little short when in considering the sweeping themes. The earlier version, which starred Ronald Colman, aspired to become a "Yuletide" tale (including Christmas songs), while this one "blessedly" plays it more straightforward. The most grievous error is very plain to see…

The way to distinguish this production would have been to shoot it in color, which they had the money to do, and did not.

Looking beautiful in black and white or color, dissipated English barrister Dirk Bogarde (as Sydney Carton) defends suspected French spy Paul Guers (as Charles Darnay) while falling in love with his client's fetching fiancée, Dorothy Tutin (as Lucie Manette). The casting of the three leads is very much like Mr. Colman's MGM version. Mr. Bogarde is excellent, playing "Sydney Carton" in a lower key makes him more believable in this film's context, and draws you closer. So, even if you know the ending (and you should know the ending), Bogarde is able to make it startling, by unveiling his character deliberately.

Director Ralph Thomas, Bogarde, and several of the distinguished supporting characters herein, have a good feel for the material. Another mistake is not having Bogarde play both "Sydney Carton" and "Charles Darnay" (the latter is played, herein, by Mr. Guers and a dubbed voice). Dickens' story depends on the two men looking very nearly identical. This lends believability to their symbolic brotherly love, and makes their love for the same woman (Ms. Tutin) more dynamic. The "twin" theme is a very strong, recurrent (even hereditary, for "Darnay") theme in the novel. Bogarde could have easily played both roles.

******* A Tale of Two Cities (2/28/58) Ralph Thomas ~ Dirk Bogarde, Dorothy Tutin, Paul Guers, Rosalie Crutchley

As an avid admirer of nineteenth century novelist Charles Dickens' work, with an interest in the French Revolution, then I felt compelled to watch this Rank adaptation of; A Tale of Two Cities, directed by Ralph Thomas. Although I have not yet read the original novel, I got the impression that this film adaptation of; A Tale of Two Cities stuck as much as possible to the original novel as Dickens intended it to be.

We see in this film adaptation of; A Tale of Two Cities the social origins which culminated in the French Revolution. It illustrates the traditional aristocratic 'ruling class's' demise. The demise of the French aristocracy resulted in a reaction by them, where their fears and anxiety pertaining to their precarious position in society culminated in the mistreatment of the ordinary people of France, otherwise referred to as; 'serfs'. Encouraged by the American War of Independence, and influenced by the intellectual elite of The Enlightnement movement culminated in the French Serfs rebelling against the causes of their imposed position within an undemocratic, feudal society, which permitted their mistreatment by the aristocracy. It is the factors of mistreatment and being restrained by their inability to change their situation via the democratic processes we have today, which caused the French serfs to overthrow the aristocratic ruling class at that time in the Eighteenth Century. The over-throwing of the French aristocracy subsequently made way for a new elitist ruling class to emerge in the form of industrialists and businessmen, thereby creating a new type of class consciousness for modernity.

As to the acting in the film, it is an eclectic bunch of British character actors playing the parts. This is exemplified by the part played by Dirk Bogarte, who makes the character he plays a portrayal of himself, as opposed to immersing himself into the character, and becoming it! Bogarte illustrates that he is able to become the character he plays in such films as; The Blue Lamp' (1950), where he acts the part of villain Tom Riley with a real and definite intensity. If there was to be any accolades for acting in; A Tale of Two Cities, it would go to the actor, Christopher Lee who played the part of the bombastic French nobleman,Marquis St. Evremonde .

If the film is going to be defined as worthy of watching, it is due to the director's ability to keep close to the original Dickens novel.

Why is it that reviewers insist on complaining that a film is less worthy because it does not exactly stick to the book upon which it is based? There are differences between this film and Dickens's novel and other film adaptations. That does not matter. A film is a film and a book is a book and they are different works of art.

What matters is whether the film as a work of art, or entertainment, or narrative, works in its own right and on its own merits. I would contend that this film certainly succeeds on that basis. The narrative is coherent and convincing, despite the unlikely premise of the ending of the story - and you can blame that on Dickens.

The film is beautifully shot in black and white just at the time when most features were being filmed in colour and, in my view, this adds to the film. The script is well written, the actors well cast and the performances are convincing. Another reviewer has complained that Darnay and Carton were not played by the same actor. That would be a serious mistake, just as to have Viola and Sebastian played by the same actor in Shakespeare's 'Twelfth Night' is a mistake. Much of the dramatic tension comes from having just enough similarity but not too much. In this way, the different characters of the protagonists are emphasised. Bogarde puts in his customary well-balanced performance and the sympathy between him and Lucie Manette is clear to see without being overplayed.

The excellent Dorothy Tutin puts in a convincing performance as the beautiful Lucie and the supporting cast is generally very good. The slight exceptions would probably be M. and Mdme Defarge who are not entirely convincing. He is too weak and she is too histrionic.

"A Tale of Two Cities" is based on the novel by Charles Dickens. The story is not focused on the plight of the poor in Victorian England as with many of Dickens' novels, but rather an exploration of France prior to and in the wake of the French Revolution.

The nice thing about this film is that it has a sense of the scope of the history it portrays but also tells a personal story with connected people from England and France. The essential story concerns a hunted French aristocrat, an English barrister and a French woman whom they both love. These characters are not only linked to each other but to the French Revolution via the French aristocrat. The film shows the indiscretions by the aristocrats, the desperation of the beggars in Paris prior to the Revolution and but the arbitrary actions of Committee of Public Safety after the Revolution equally well. The transition with the storming of the Bastille was handled well. Importantly this film is in the end a very touching tale of self-sacrifice.

Dirk Bogarde is Sydney Carton, the English barrister of the story. Bogarde is effective at portraying Carton's transition from a comical though shrewd drunkard to a man that achieves a degree of nobility (pardon the pun). Dorothy Tutin and Paul Guers were also solid leads Lucie Manette as Charles Darnay. Donald Pleasence has a relatively small but memorable role as the profiteering spy Barsad. Christopher Lee is well-suited to his oft-played role as a villain, who in this case is a haughty and despicable French aristocrat. Rosalie Crutchley's performance as Madame Defarge also deserves note. Defarge is a truly chilling woman, and Crutchley brings out the transition from quiet glaring knitter to overwrought Reign of Terror fanatic very well. "A Tale of Two Cities" tells a personal story of a group of characters and self-sacrifice but also how France replaced its former repressors with new ones.

This is a classic film version of one of Dickin's classic novels. Arguably his best novel (though the critics tend to dismiss it - it has a straightforward plot and structure), it translates into an exceptional film.

For those who don't know the story, it concerns the fortunes of the Manette and St Evremonde families at the time of the French revolution. In a Romeo and Juliet type situation, Charles Darnay (alias St Evremonde) loves Lucie Manette, whose father Darnay's uncle had wronged. Now living in London, neither can escape the terrible events in Paris, and they are drawn to a climatic conclusion as the guillotine falls on aristocrat and commoner alike.

The real hero of both novel and film is Sydney Carton (Dirk Bogarde), an English lawyer who initially defends Charles Darnay against a charge of treason, and later comes to love Lucie, now married to Darnay. The conclusion of the story, for Sydney Carton at least, is both tragic and inspiring, and Mr Bogarde certainly does justice to the role.

This is my favourite Dickens book and my favourite Dickens dramatisation. I remember reading that there had been some doubts originally whether Dirk Bogarde matinée idol could manage this part. Instead it was presumably his first chance to show the inimitable quality of his acting. He is perfect in this part and I cannot imagine anyone else ever doing it better although I'd guess Ronald Coleman could equal it. I've seen one other, more recent version and although Carton's actor had a good go at it, it totally lacked the amazing charisma Bogarde provided for what is one of Dickens' most poignant characters - flawed, fascinating, cynical, damaged but wonderful.

It's a crying shame this wasn't filmed in colour since the producers did consider doing so and then didn't. But the production and acting are so excellent that you soon don't notice it isn't colour as you become completely immersed in the movie. I suppose it's always possible the lack of colour actually enhances the drama, and for me this story is the most dramatic and poignant of all Dickens - a work of pure genius.

"A Tale of Two Cities" is the remarkable 1859 story by Charles Dickens that appeared as 31 weekly installments in Dickens' own periodical. It was made as a film several times, including 3 silent versions and a marvelous 1935 version. The 30s were a great time for Dickens films, including "Oliver Twist" (1933) with Dickie Moore, "Great Expectations" (1934) with Henry Hull and Jane Wyatt, "The Mystery of Edwin Drood" (1935) with Claude Rains, "Scrooge" (1935), "David Copperfield" (1935) with none other than W. C. Fields, and "A Christmas Carol" (1938) with Reginald Owen.

Comparing the 1935 and the 1958 versions -

Sydney Carlton – Dirk Bogarde (1958) does a good job, one of his best, but Ronald Coleman (1935) is my preference.

Charles Darney – Donald Woods (1935) is the better player. Paul Guers is a bit wooden for my tastes.

Marquis St Evremonde – Basil Rathbone (1935) is one of the best villains anywhere, exceeding even Christopher Lee (1958).

Miss Pross – Edna May Oliver (1935) was a hoot, much better than Athene Seyler (1958).

Lucie Manette – Dorothy Tutin (1958) and Elizabeth Allen (1935) both do an admirable job.

C.J.Stryver – Reginald Owen (1935) is more compelling than Ernest Clark

Both versions are 2+ hours long and both don't fully represent the richness of the novel. I think the 1935 versions moves a bit better with fewer lapses, but both films are pretty well paced. Recall that Dickens' works are extremely long so no film can capture everything.

In terms of production values, the 1935 version is surprisingly good, even though producer Selznick put more effort into other films at the time. The 1958 version, done in black and white, is certainly OK, but not any better than the 1935 version.

The 1935 film was nominated for Best Picture and Best Film Editing. It lost to "The Great Ziegfeld" (picture) and "Anthony Adverse" (editing). The 1958 version received no nominations.

Bottom line – if you're going to see only one version of this great novel, pick the 1935 version.

Summary: Ralph Thomas' direction makes this the best adaptation

The English 1958 interpretation of Charles Dickens' great novel "A Tale of Two Cities", directed by Ralph Thomas, is a really terrific picture, capturing the essence of Dickens' tale deftly. Thomas' craftily directed black and white adaptation lends itself quite tangibly and nicely to the purposes of the story, I would say more succinctly than the 1935 interpretation directed by Jack Conway. The earlier adaptation featured as many fine performances (Ronald Coleman, Edna Mae Oliver, Basil Rathbone, Blanche Yurka, etc), and succeeded in special effects and cinematography a little better, perhaps, than THIS picture, but Thomas' directing emphasizes the key points of the original story, and this becomes the better picture as a result.

Dirk Bogarde playing Sydney Carton is quite perfect here, and a young Christopher Lee as the conceit driven supercilious Marquis St. Evremonde is fantastic, as is Rosalie Crutchley as the cruel hearted revenge laden Madame Defarge. Cast-wise, both pictures do a great job, and Edna Mae Oliver's performance in the earlier picture is missed here. But the director uses a lighter brush to get many of the complexities of the story in this English version. In one scene, during the climactic period of the story in the dungeon of the Bastille, Barsad (Donald Pleasence), a character of low repute working for whichever side will use him, finally catches onto the heroism of Mr Carton and holds his hand out for a respectful shake. . . with no reply for several seconds. Then, just as he turns to open the door to have the guard take out Mr Carton, who by then is really a passed out Charles Darnay made to look like the supposed drunken Carton . . .the real Mr Carton (Dirk Bogarde) touches his shoulder, just enough to convey that a good angel is bringing hope to the world, even to low characters like Basard. It is very touching. This scene is handled with master craftsmanship by the director. And this sort of directing pervades the film's entirety, which is the primary reason why this movie IS the better of the two, in my opinion.

The 1935 film is a classic, and this film from 1958 is very close to that, the second-best adaptation by quite some distance. It looks very beautiful, the black and white photography skillful and well-suited to the story, the revolutionary scenes are still powerful despite not being in colour. Richard Adinsell's music score is bombastic, haunting and also a real beauty to listen to. A Tale of Two Cities is very intelligently scripted with a lot of dramatic weight though occasionally a little on the ponderous side, while the story- even when straight-forwardly adapted- is still as powerful and moving as one would expect, with the ending quite heart-breaking in its tragedy. The direction shows command of the source material and the ability to bring out the best of the cast. Dirk Bogarde is great and very charismatic, plus he probably hasn't been more handsome than he is here. Dorothy Tutin's Lucie is fetching and heartfelt, Christopher Lee is wonderfully vicious and truly hissable and Rosalie Crutchley brings chills as Madame Dufarge if occasionally a little too histrionic. Overall, excellent and a very easy close second-best adaptation. And it is true that it deserves to be judged on its own terms, the whole "the book is better" and "any film/TV series that doesn't follow the story to the letter is immediately terrible, and books shouldn't be seemingly improved upon"(Agatha Christie and Jane Austen adaptations are prone to this in particular) are tired old clichés. 9/10 Bethany Cox

"Tale of Two Cities" is one of those overworked and tired tales that has been over told dozens of times ad nausea! However, this rendition is glorious. Only the Ronald Colman version is slightly better, but Dirk Bogarde fits this role perfectly, as he does most of his other roles in film. Although most of the versions of "Tale of Two Cities" are boring, much like the tired renditions of Beethoven's 5th Symphony, this version is like the Herbert Von Karajan or Carlos Kleiber orchestrations that are spectacular and inspiring, as if played for the very first time. There are beautifully crafted scenes in this film that create an interest in the humanity of the characters. This is truly a wonderful film.

One of the most powerful ending's to a film I have ever seen, similar to the sacrifice that Christ made for us on the cross, this is a film you must see and you will be glad you did. You will ask yourself, how many people could make such a sacrifice for the one they love? I know I couldn't. The courage of these characters' is awe-inspiring and as one of the character's says, Sydney Carton (Bogarde) shows the best that is in us, and is the best of us, in desperate times. A Super Hero in a great film! See this one! If you have a heart, you will have a lump in your throat and your eyes will be moist at the end of this one!

I'm old now, and I've been watching films (movies!) since the 1940's!

This black and white 1958 version of 'A Tale of Two Cities' is a beautiful love story. Although we owe the wonderful Charles Dickens all the credit for creating such an outstanding act of bravery by Sydney Carton, I defy anyone to suggest a better actor than Dirk Bogarde to play this part.

Dirk Bogarde starts the film as a drunk who has nothing to live for. Through his love for Lucie, he learns to redeem himself. The words he dictates at the end of the film to Charles Darney in the prison, 'I knew it was not in your nature.....' are real tearjerkers.

I watch the film at least once a year and always find it a moving experience.

Highly recommended

PS The haunting music by Richard Addinsell is fabulous.....

In this bicentennial of Charles Dickens it's a good thing to examine all the versions of A Tale Of Two Cities and see aspects in all of them that reflect on the story telling abilities of Dickens. In a Tale Of Two Cities his characters come from a generation or two behind Dickens and it might be the only one of his great work that could be classified as historical. All the rest you can immediately recall to mind are set in his contemporary time.

What he did and what Thomas Carlyle did as his contemporary is create characters and write history respectively that forever stamped the image of a seminal historical event in our consciences. For those of us of a historical scholarly bent the image of what Carlyle and Dickens wrote about the French Revolution is soddered into our minds. There's a reason for it, it lies in their research and their abilities as writers.

With Dickens it something additional his ability to create unforgettable characters, people whom you once read about and can't forget. Such is Sydney Carton who starts out in the novel as a supporting player but who gradually in the story moves to the first rank and his deed at the end climaxes the story.

The Thirties version of A Tale Of Two Cities at MGM and this 1958 film the Rank Organisation are the two best known. Even though MGM's was a Hollywood film it was populated by a cast of British expatriates. Ronald Colman was the Carton of the Thirties and his performance was colored by his impeccable style and good diction. I've always felt Colman so typified the British people as they like to see themselves and we would all like to be Ronald Colman if we're male and come from that blessed isle.

In this version Dirk Bogarde's dissolute drunkenness is emphasized far more than with Colman. So is his unrequited love for Lucy Manette the French expatriate played here by Dorothy Tutin. But she loves another, a fellow expatriate Charles Darnay played here by a French actor Paul Guers whom I find to have been dubbed. He does bare a superficial resemblance to Bogarde and that is the real key to the story of A Tale Of Two Cities.

The rest of the cast boasts some of the best British performers around at the time like Cecil Parker, Athene Seyler, Donald Pleasance, and Christopher Lee as a cunning and vicious Marquis St. Evremonde. The relationship is changed making Lee and Guers cousins as opposed to an uncle and nephew.

Rank Organisation went almost whole hog on this film with an impeccable recreation of late Eighteenth century London and Paris. They could have gone for color, but why be picky. Whatever else A Tale Of Two Cities is politics and history aside, it's about a man who no one thinks has any great character, but in the end really steps to the plate for the one he loves. Which makes the film have a universal theme for the ages.

I cannot deny that this film is brilliantly made and Dirk Bogarde gave arguably gave the best performance of his career alongside Losey's ' The Servant. ' But I would also argue that this film, alongside the others that came after it are popular because they see a handsome young man and woman, who could be lovers, embracing each other in a tumbril that is leading them to the Guillotine. The woman is in fact mutely terrified and their kiss on the lips in this 1958 version is to ease the moments of extreme terror to follow. Also in this version it ends with a blackout and then THE END just after the knife has fallen. This is horror and yet it got a ' U ' certificate for any child with cash in their pockets to see it alone. I was eight when I saw it and was traumatised. Only now do I ask myself the question ' do people get a repressed sexual thrill out of this ? ' A question open to debate and despite the great Dorothy Tutin as the woman Bogarde in his role of doing the ' best thing in his life ' I dislike this film intensely. Even the poster indulges in the sadistic experience of a handsome couple steeling themselves to decapitation. 4 for the 100% professionalism of the making of it.

Dirk Bogarde does a masterful job of portraying the complex character of Sydney Carton. This is a masterful retelling of the Dickens classic. It is beautifully photographed and edited, a nice cinematographic effort. But Bogarde really nails the man whose derelict life leads him to a decision like no other. The revolutionary period is admirably portrayed. This is a more broad based effort than the 30's version, which is wonderful in its own way.

When I saw the 1935 version of "A Tale of Two Cities", I couldn't imagine seeing a better one. And, while this is still true, I think the British 1958 version is about the equal to the Hollywood version.

The story is very familiar, as the book was one of Charles Dickens' most famous works. And, while I could recount what the film is about, it's so familiar that I'll forego this. Instead, I should point out that the acting was just lovely and so were the sets....good enough that I didn't miss Ronald Colman because DIrk Bogarde was also excellent in the leading role. Overall, an exceptional and faithful version of the story...well worth seeing...even if you've seen the other.

By the way, if you do watch, be sure to watch Christopher Lee and his very over-the-top (and most enjoyable) royal scum.

Dickens was inspired to write this novel by the accounts of the French Revolution by his friend Thomas Carlyle, which probably still is the best written account of that tremendous train of events and traumas. The novel is perhaps his most romantic one, as he never wrote a tragic love affair like this one. Dirk Bogarde makes perfect justice to the leading character in perhaps his best role ever, a very melancholy character which Bogarde strikes the very chords of more than convincingly. The other character which you will never forget of this film is Rosalie Crutchley as Madame Defarge. She always made striking appearances in very dramatic characters, and this is one of her most remarkable - you will never forget it. All the other characters are perfect also, Christopher Lee as the abominable Marquis, Stephen Murray as Doctor Manette, Donald Pleasance as the disgusting Barsad and all the others. To crown it all is Richard Addinsell's music, which enhances the romantic colour of the film. Ralph Thomas insisted on shooting it in black and white, because, as he said, Dickens wrote it in black and white. It is perhaps his best film, and some scenes are truly impressive. The storming of the Bastille is not historically correct, but it is well done, while the greatest scene is of course the finale. It was Dickens' only historical novel, and particularly enjoyable is the language, which has been aptly transferred to the film. Dickens, Bogarde, Carlyle - what a perfect team work.

Pretty boy Bogarde or movie star Coleman? I always thought Dirk Bogarde (Bogarde NOT Bogarte) was a lightweight actor with occasional flashes of excellence.

I always thought Ronald Coleman was a great movie star who could act a bit.

Having said that I prefer Coleman's version of 'Lost Horizon' to the others and I think his performance as Carton shades Bogarde. Bogarde's best performances were in 'The Night Porter' and 'The Victim'

There was, however, a version of this movie (maybe made for TV) with John Mills playing Carton - easily the best.