Bogarde, proving not for the first time that he was a whole lot more than just a pretty face, brings a real subtlety and edge to Barratt, letting just enough of the Machiavellian glint through to let us know there's more to this than first appears.

~ Amber Wilkinson -

Bogarde, proving not for the first time that he was a whole lot more than just a pretty face, brings a real subtlety and edge to Barratt, letting just enough of the Machiavellian glint through to let us know there's more to this than first appears.

~ Amber Wilkinson -

When you're watching a film for the wallpaper you know you're in trouble.

~ Jennie Kermode -

When you're watching a film for the wallpaper you know you're in trouble.

~ Jennie Kermode -

Losey had shown how adept he was at claustrophobic interiors before, with the likes of The Servant, but here he also shows a flair for more abstract sweeping cinema.

~ Amber Wilkinson -

Losey had shown how adept he was at claustrophobic interiors before, with the likes of The Servant, but here he also shows a flair for more abstract sweeping cinema.

~ Amber Wilkinson -

Both Losey and Pinter are less interested in the romance itself than in the way its illicit nature exposes the class divide.

~ Amber Wilkinson -

Both Losey and Pinter are less interested in the romance itself than in the way its illicit nature exposes the class divide.

~ Amber Wilkinson -

Even though the physical violence is kept to a minimum, Losey uses the sound of a riot to help feed the mounting oppression, mirroring the psychological turmoil within Bannion himself.

~ Amber Wilkinson -

Even though the physical violence is kept to a minimum, Losey uses the sound of a riot to help feed the mounting oppression, mirroring the psychological turmoil within Bannion himself.

~ Amber Wilkinson -

The brittle, feigned civility prompts dialogue the equal of any Pinter ever wrote.

~ Jeff Robson -

The brittle, feigned civility prompts dialogue the equal of any Pinter ever wrote.

~ Jeff Robson -