Das Durchgangszimmer (1970)

Das Durchgangszimmer: Directed by Franklin Gollings. With Bette Davis, Michael Redgrave, Alexis Kanner, Kay Walsh. Explores the relationships shared by the residents of a seedy boarding house in London.

“Was always interested in seeing Bette Davis and Michael Redgrave in late roles, being admirers of both. More so Davis than Redgrave, but it is as hard to forget Redgraveu0026#39;s performance in u0026#39;The Browning Versionu0026#39; as much as it is with Davis and u0026#39;All About Eveu0026#39;. Really like melodramas when done well, whether in film, in television, in very old cartoons and on stage with plays and operas. Also saw it briefly compared to Terrence Rattiganu0026#39;s u0026#39;Separate Tablesu0026#39;, love the play and Rattigan and the film version is excellent.u003cbr/u003eu003cbr/u003eu0026#39;Connecting Roomsu0026#39; is very hard to find. Practically obscure even, though somehow did manage to see it online. That is a real shame, as, despite not being perfect by any stretch (with a couple of the potential traps that melodramas can have being fallen into), it is a long way from a bad film. Actually found u0026#39;Connecting Roomsu0026#39; to be good, moving and very well acted, deserving of much more attention and exposure when far inferior films have a significant amount of marketing and also a wide audience.u003cbr/u003eu003cbr/u003eMaybe u0026#39;Connecting Roomsu0026#39; could have been opened up more as there is a staged play feel at times. Like in the pace, which could have been tighter and had less of the pauses that dulled the action somewhat.u003cbr/u003eu003cbr/u003eAlthough the dialogue is mostly very well-written and thought-provoking, again it could have tightened up as there are parts that have a little too much talk. A touch too sappy occasionally too.u003cbr/u003eu003cbr/u003eHowever, u0026#39;Connecting Roomsu0026#39; is shot with the right amount of intimacy without being static, and the costumes and sets are not oneu0026#39;s definition of big and grand but they are opulent and suit the intimacy and chamber-like mood of the piece very well. The music in my mind avoided over-scoring and being intrusive in placement. The dialogue has a lot of intelligence and pathos, the latter being executed in a way that mostly is not too sentimental and quite moving. The direction is never less than competent, even if there could have a little more flow between transitions. Liked the u0026#39;All About Eveu0026#39; reference and it was interesting to see the hands of Amaryllis Fleming featured when Davis plays the cello (an instrument close to my heart, with it being my second instrument after voice).u003cbr/u003eu003cbr/u003eThe story absorbs and has enough moments where it is heart-wrenching. The characters intrigue and feel real. Kay Walsh is always reliable in her role and Alexis Kanner doesnu0026#39;t overplay his characteru0026#39;s jealousy. Olga Georges-Picot is touching. Itu0026#39;s the two leads that stand out though. It is great to see Redgrave reign in and be effectively subtle, and Davis often shows the beauty of acting where eyes and expressions without words are so telling and in such a gracefully dignified and moving way.u003cbr/u003eu003cbr/u003eIn summation, good film deserving of more exposure. 7/10”