The Four Productions: General Comparisons

Abstract

In contrasting the four productions we find that, although common elements naturally permeate each, the focus changes significantly. It depends largely on the conception of the lovers: Olivier’s tragic fall was understandable in the context of Leigh’s quiet beauty; Johnson’s aging pragmatist complemented Suzman’s sensual politician; Howard’s despair discovered a strength in Jackson’s calm; Blakely’s weary dissolute found refuge in Lapotaire’s need for fulfilment. But the lovers are a part of a complex pattern which these days depends largely on directorial decisions.