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Langrishe, Go Down 1978
Description: In the late 1930s, three reclusive middle-aged spinster sisters live on their run down family estate in Ireland. Otto Beck, a perpetual graduate student from Bavaria with a habit of making pompous declamations, rents the back lodge to work on his esoteric thesis. Imogen Langrishe, the least repressed of the sisters, starts an affair with Otto. Imogen takes the love affair seriously, but Otto just enjoys the cheap lodging and the comfort of Imogen.
Released: 20 Sep 1978 Director: David Hugh Jones Writers: Aidan Higgins (novel), Harold Pinter (screenplay) Actors: Judi Dench, Jeremy Irons, Annette Crosbie, Susan Williamson Genres: Crime, Drama, Mystery, Romance
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See Langrishe Go Down part 6 of 8 on youtube.

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Langrishe, Go Down Reviews:

Pinter's "Langrishe, Go Down" is an exceptional piece of work, a beautifully written and multi-layered storyline as well as a masterful tour de force for its two leads, Jeremy Irons (brilliantly seedy as the 35-year-old leech of a 'scholar', Otto Beck) and Judi Dench, who brings the agonizingly conflicted Imogen Langrishe to life with magnificent subtlety. We realize their relationship is doomed from the begin - partly because it's based on their two very various kinds of desperation - but in this piece, once the two of them have totally realized that the proverbial honeymoon is quite over, it's the WAY in which Imogen responds to Otto's casually-delivered, soul-crushing insults that gives the film its ultimate power. If you receive a possibility to see this 16mm ver of the BBC Enjoy of The Week, do not miss it.


This telemovie from the 1970's deserves to be better known. Based on a novel by Aidan Higgins, it has a masterly script by Harold Pinter (who himself plays a tiny but significant acting role). If you enjoyed films based on literature (such as James Joyce's unbelievable storyline from "Dubliners" : "The Dead" directed by Huston) you could search this movie well worth watching. A melancholy tale of frustrated love set in the 1930's details top acting performances from all. A young Jeremy Irons plays the German student of philosophy writing his precious thesis with excruciating preciousness and cynicism. (Irons slow pedantic accent is reminiscent of Marlon Brando's choice of accent for his "Burn".)He embarks on a relationship with a girl who is trapped by a family of sisters who - fallen on difficult times since the death of the father- seem destined to live lives of slow desperation in their old house in the country. There are many unbelievable scenes in this slow but engrossing production.


Sometimes you just search a gem. You're more likely to by following talent, and there's really not much of it. My following of Harold Pinter (as a writer, not as political observer) has never failed to reward. In a several years, we would have the amazingly layered "French Lieutenant's Woman." Pinter's interest is in multiple worlds creating — writing — every another and what it means to have art and life in such a context. An artful life.What we have here is richly inexplicable. It can be obviously threaded few various ways. One method is that Imogen Langrishe, one of three spinster sisters, has an affair with a visiting, "dirty scholar." It ends. If that's the most you can see, you might wish to think about how your life is place together and what you are missing.Another, equally articulated thread is that we have three middle aged sisters. They are in a nice house, once rich, but actually near total loss. They are what remain of four daughters of a wealthy couple, one of which has apparently been elevated into a life imagined as bliss.Of the remaining three, Helen has created an imaginary lover. He is a German who is writing a thesis on notations in the Irish globe (with reference to Goethe and the Brothers Grimm). She — in this storyline — keeps him in their cottage, splitting time between the house and his bed and table. Eventually, she writes herself out of this. It ends badly in some method and she retreats to bed, sulks and eventually dies of a broken heart.Helen creates this storyline and keeps it alive by literally writing it in the form of letters to her lover, never sent of course.Imogen (Imagine), other sister, is jealous. While Helen is out, Imogen reads these letters and decides to steal the man. So she creates her own imagined ver of this boy in the same cottage. Only he is dirtier, more vacuously pedantic, stiff, rude. She also ruts and strokes, takes possession. She does this under her sister's nose, with no attempt to hide.The sister watches in despair. We don't know why Helen's boy left, but Imogen's ver of him leaves because he gets better sex from the whore in the village. In effect, we are seeing Imogen's mind. She also spins and maintains this globe and its affair by writing letters-never-sent, which — predictably — Helens finds, causing her death.In between these two threads is a rich melange of alternative threads and components vying for their own agency: the boy writes the case which territories Imogen in her world, thinking she is writing it. What we have is an elaborate form of the Goethe "apprentice novel" where the character encounters self as created in many worlds. Gothe claimed precedence in the Grimm parables.And inserted squarely in the journey is Pinter himself, in a sequence involving a enjoy which is about two characters on scene who we don't see, the two we do (Irons and Dench) and the two presented by Pinter and his one-eyed trollop. The four receive drunk in a painter's flat (the artist outside the storyline — one of Pinter's devices), discuss the enjoy devolving into four fully unconnected threads.Its rich items that doesn't advertise itself so, except in the game which only carries meaning when the enjoy is seen as this multithreaded tapestry. And in a several otherwise inexplicable things planted so that the straightforward "interpretation" cannot be carried.Elsewhere I've been very critical of Dench, Dame Judi as she demands to be called. It seems to me that no matter what the requirements of the work she is in, no matter what she could do to fit in and help the artist intent, she blithely ignores its shape and does what she wants. Increasingly, these characters are all in the service of increasing the legacy of defining the girl Judy. Its the Kate Hepburn result adopted by Angela Landsbury. If Dench were an artist, she'd allow her art be her legacy instead of a managed personality.I just can't stand her any more. Perhaps the turning mission for me was "Iris." But here — much earlier — she seems to take her responsibilities seriously. She knows what the thing is about and bends accordingly. Nice for her. Irons does too. Nice for us.Ted's Evaluation -- 3 of 3: Worth watching.



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