The Go-Between is a breath-taking adaptation of L.P. Hartley’s novel brought to the screen by the celebrated screenwriter Harold Pinter and director Joseph Losey (The Criminal, Accident). Featuring an outstanding cast that boasts Julie Christie (Far From the Madding Crowd, Don’t Look Now), Alan Bates (Women in Love, Far From the Madding Crowd), Dominic Guard (Picnic at Hanging Rock), Margaret Leighton (The Good Die Young), Edward Fox (A Bridge too Far, Gandi) and Michael Redgrave (The Lady Vanishes, The Browning Version), it was an instant hit on its original release in 1971, winning both audience and critical acclaim as well as a raft of awards (including 4 BAFTAs and the prestigious Palme d’Or). The visceral story of an Edwardian romance set during one seemingly endless Norfolk Summer continues to endure with a contemporary audience: the film was acknowledged by Ian McEwan as a strong inspiration for his modern classic, Atonement.
In the sweltering Norfolk summer of 1900, Marian (Julie Christie) is set to be engaged to Hugh (Edward Fox), a well-bred viscount and her perfect match. Marian’s young brother, Marcus (Richard Gibson), invites his classmate Leo (Dominic Guard) to stay at the grand House for the holiday. Quickly, Leo becomes besotted with the vivacious Marian and, innocent of romantic and sexual matters, unwittingly becomes a pawn in the forbidden romance between her and eminently unsuitable local farmer Ted Burgess (Alan Bates).
As the oppressive heat intensifies so too does Leon’s burgeoning adolescent questioning of love, attraction and the rules of the upper class that he doesn’t really belong to. Both a beautifully subtle critique of the English class system and a visual masterpiece that perfectly captures the timeless beauty of an English Edwardian summer.
Based On The Novel By L.P. Hartley
Screenplay By Harold Pinter
Music By Michel Legrand
For the 2019 restoration of THE GO-BETWEEN, STUDIOCANAL returned to the original camera negative where possible and, only when confronted by severe damage that could not be repaired, alternative sources were used. These elements were scanned at 4K resolution in 16bit. The project involved over 200 hours of manual frame by frame fixes and resulted in the creation of a new 4k DCP, and a new HD version, which were produced with the same high technological standards as today’s biggest international film releases.