ows Graham is after him. Yet, he keeps Graham nearby, watching him and--he thinks--controlling him.
Losey, Joseph. Chance Meeting. Paramount, 1959.
Losey's later films seem different on the surface from these earlier works, but there are themes found in Time Without Pity that can also be found in The Go-Between (1970) and The Romantic Englishwoman (1975), for example. There are clearly considerations of class difference and societal control in these films, as there is in the somewhat different Mr. Klein (1977), and there are intimations of the intruder in each film as well. In The Go-Between, the young boy who helps the lovers is a type of intruder into the homes of the two, and the lover is himself an intruder into a social class that rejects him so that he kills himself. The theme of the individual against the group is used here, and the group has all the power over the lives of the lovers, leaving the boy disillusioned as he faces his own future with the knowledge that it will be shaped more by outside forces than by his own desires and abilities.
Graham, for his part, is a man with no control at all. He has failed in his life so completely that he seems an unlikely candidate to do anything for his son. Yet, he undertakes the task with a single-mindedness that is ultimately unstoppable. The obsession this father has for saving his son overcomes his natural tendency to hide from life in a bottle. Finally, he has to surrender his life to save his son's, a sacrifice that also becomes an inversion of the expected outcome for his son--that is, what was supposed to be the last day in the young man's life becomes the last day in his father's life.
Losey, Joseph. Time Without Pity. Harlequin, 1957.
Losey, Joseph. The Go-Between. Columbia, 1970.
One of Losey's last films in America before his exile to Europe was The Prowler, another crime film which creates a sense of social oppression and which uses the melodrama of the plot as a springboard