Once again on my trek to conquer the 1001 list I cross paths with James Mason. Here, I meet him in the form of the evil Lord Rohan, one of his greatest characterizations, in Leslie Arliss’ The Man in Grey (1943). The film is a costume melodrama, and one of the best of such British films produced during the war, rivaling the Hollywood productions of its day. Mason, perfectly cast as an arrogant London playboy, appears relatively late in the narrative, but he so dominates the film that it’s hard not focus on his performance. Indeed he conveys the type of villainy that only seems possible in the movies; the man so conceited that he feels others are honored even by his scorn. Such is his belief with the pretty young Clarissa (Phyllis Calvert), a woman who appears destined to suffer at the hands of his cruelty.
Clarissa is the most adored girl at her boarding school, well-liked by both classmates and the mistresses. However, she’s initially despised by the new pupil Hesther (Margaret Lockwood), who resents her wealthy upbringing and sunny disposition. Eventually, Hesther warms to Clarissa, who swears undying loyalty to her new friend. The strong allegiance between the two young women is challenged soon thereafter, when Hesther elopes with a soldier to escape the torments of the headmistress, who unjustly torments her. Clarissa refuses to stay at a school that condemns her friend’s actions, and returns to London to be introduced to society.
Her mother presses her into a marriage with the eligible and wealthy Lord Rohan, a man who takes considerable pride in his family crest, “He Who Harms Us, Dies,” but cares little for his interactions with family members. After their marriage, he informs Clarissa that he intends for her to produce him an heir, and cares little else for what she does. She complies with his wishes, and for several years she finds relative comfort in her wealthy loneliness, though she longs for more time with her son. Then, almost by chance, she finds a playbill that notes Hesther’s performance in a nearby production of Othello. She races to the playhouse, eager to reunite with her old friend, on the way meeting a handsome member of Hesther’s troupe.
Though it appears that Hesther and the dashing actor Rokeby (Stewart Granger) may have a past, Clarissa cannot help but be taken by him. She inquires about him to her long absent friend as the two dine together after the play. Talking, their friendship is rekindled, but Hesther again bears a note of the bitterness that once divided them. Still, Clarissa insists that her companionship is encouraging in her loneliness, and eventually convinces Rohan to let Hesther come to live with her in her London estate.
Rohan’s initial apprehensions fade when he begins an affair with his wife’s companion, one that prevents him from noticing her own developing affections for Rokeby. Hesther however is not so naïve, and she uses the distraction of Clarissa’s burgeoning relationship with her fellow thespian to further betray her friend with Rohan. Revealed throughout the narrative procession of these relationships is Rohan’s truly cold nature. He claims to love Hesther, and could if he so wished, divorce Clarissa and legitimize their passion, a seemingly practical option when he learns of Clarissa’s own affair. However, he refuses to bring scandal and shame upon his family name, and is content instead to remain both a cuckold and a lecher. That is until Rokeby proposes marriage to Clarissa, asking her to join him on his family’s plantation in the West Indies. This change in the status quo prompts a public dispute between the two men, and a dual seems imminent. Rokeby instead opts to flee, knowing that he must first secure a place for his new bride in the new world before they can marry. Watching in the rain as his ship sales toward the horizon, Clarissa contracts pneumonia, leading to a tragic end to both love affairs.
Though a clever frame story provides an uneven sunny ending to the film, this is pure melodrama at its finest. Each of the four primary characters is well drawn, and the performances of all of the leads are adept. However, Mason does certainly emerge as the tour de force presence within The Man in Grey. I’m struck now to come up with a single moment of cruelty that best embodies his character’s malevolence, and I can think of none. It’s the entire tone of the man that made my flesh crawl, and Mason brought that to life not so much with specific lines or actions, but with a consistent wry furrow in his brow that projects utter disregard toward everyone his character meets. He seems to know that he is dislikable, and to take a distinct pleasure in that knowledge. Such characters are always fascinating.
I’ve experienced varying degrees of believability in the Mason performances I’ve encountered so far for this blog with The Reckless Moment (1949; #108) and Bigger Than Life (1956; #111), but must say that this is the material that suits him best. Were I given the option to cast a melodrama of any era, and could employ the services of any actor, living or dead, I think I’d look to Mason to embody my villain. I can think of only two other actors I might consider: Orson Welles and Robert Mitchum, but they’d be up for the role of the hero as well. Mason, I’d only ask to read for the villain.
Language: English
Runtime: 111 minutes
Available @youtube.com
Grade: 3.5 Hats Off
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