An odd but interesting updating of Melville short story that has a superb cast. Colin Jeavons (Inspector Lestrade to Jeremy Brett's Sherlock Holmes) does his best Tom Courtenay impression. Thorley Walters is his typically distracted self (though he hasn't much to do). Paul Scofield has one of the greatest challenges of his career: playing an ordinary employer, and he rises to the challenge with a superb performance.
The weak link is John McEnery. A fine actor, he was a stand-out as Kerensky in "Nicholas and Alexandra" (and perhaps the only actor who wasn't swamped by the affair) and his Mercutio in "Romeo and Juliet" was more interesting than either Romeo or Juliet. But his Bartleby is too soft-spoken. I don't read Melville's Bartleby as being so apologetic when he says "I prefer not to." McEnery seems to want to strip any sort of emoting at all from his performance -- and that he comes so close proves that he is a fine actor -- and he comes off as merely bland, and Scofield acts him off the screen.
Gratuitous scenes of '60s folk on the street PERHAPS try to tie Bartleby in with the spirit of revolt, in his own way. But it that's what they meant, it doesn't seep through. The growing weirdness and sadness of Bartleby is diluted (for instance, by putting the dead letter office gag up front). McEnery's Bartleby is sad throughout and there's no explanation offered.
Though it doesn't quite capture the essence of Melville, it's worth watching for Scofield alone.
The weak link is John McEnery. A fine actor, he was a stand-out as Kerensky in "Nicholas and Alexandra" (and perhaps the only actor who wasn't swamped by the affair) and his Mercutio in "Romeo and Juliet" was more interesting than either Romeo or Juliet. But his Bartleby is too soft-spoken. I don't read Melville's Bartleby as being so apologetic when he says "I prefer not to." McEnery seems to want to strip any sort of emoting at all from his performance -- and that he comes so close proves that he is a fine actor -- and he comes off as merely bland, and Scofield acts him off the screen.
Gratuitous scenes of '60s folk on the street PERHAPS try to tie Bartleby in with the spirit of revolt, in his own way. But it that's what they meant, it doesn't seep through. The growing weirdness and sadness of Bartleby is diluted (for instance, by putting the dead letter office gag up front). McEnery's Bartleby is sad throughout and there's no explanation offered.
Though it doesn't quite capture the essence of Melville, it's worth watching for Scofield alone.