Having read the above reviews I agree that there were some production compromises - the rear projection noticeable but not as offensive as in color productions of the time - 'The African Queen' etc. The novel does not achieve the existential challenge of 'The Secret Sharer' and Conrad's narrator is somewhat unsteady - surprisingly not compensated considering what Reed managed with 'The Third Man'. The basic problem is the failure in the adaptation by William Fairchild to preserve the cross-cultural context. Willem's business acumen is understated and the question of inter-racial marriage entirely ignored: Mrs. Vinck and Mrs. Willem are absent, and Mrs. Almayer becomes British. The former is disturbed - perhaps sexual jealousy - by Willem's marriage to Hydig's bi-racial daughter. And the pervasiveness of this prejudice is ultimately expressed by Aisee's calling her an ugly 'Sarani' (Nasrani or European Christian/Malay). There were however liberties taken that enhanced the narrative - the hammock over the bonfire entirely invention. The real flawed characters are Captain Lingard in his charitable vanity and Almayer in his foolishness. The latter fully expressed in the sequel 'Almayer's Folly'. I would have preferred Willem's accidental death as per the novel. And I would have preferred a Malay - perhaps a Dayak - for Aisee. But all said and done it is a very stirring - if flawed film - and worthy of a place in the canon.

A batty colonial Third Man, as raffish thief Trevor Howard winds up at a trading outpost, where he falls for a female warrior (Kerima) and proceeds to betray his best friend (Ralph Richardson). This strange, intense drama – complete with broad comic interludes – lacks a consistency of tone, oscillates between profundity and pomposity (though some of the commentary on imperialism is fascinating) and is too low-budget to realise its ambitions, leading to continuity problems and some iffy back-projection. But it has a whole deck of wild cards that make it a must-see for fans of classic British film. Where else would you get to watch Robert Morley trussed up in a cocoon-like hammock, swinging, whooping above a bonfire? Or Richardson – in full Captain Birdseye make-up – trudging up a mountain, unsure whether to shoot or lecture his protégé? Indeed, much of the acting has to be seen to be believed, with a masterclass in madness from Howard, a poignant part from Richardson, Morley's bilious turn as a barking, greedy trader, and one of Wendy Hiller's rare film appearances: impossibly touching, in what could have been a hackneyed part, as the unhappily-married woman looking to trade in one bastard for another. Strange, then, that Reed sometimes gets sidetracked with devious George Coulouris (a Mancunian of Greek heritage, wearing a lot of slap) and his band of colonial rebels – a supporting story that's a bit too simplistic to really engage. This Conrad adaptation is a film of rough edges and odd diversions, but it's very interesting, and at it's best, it's just great.

This exciting film is well-worth watching. It is visually rich, and the acting is consistently surprising, even from such known quantities as George Coulouris and Wilfred Hyde-White. Trevor Howard shows great emotional flexibility, a quality we don't necessarily associate with him, and Robert Morley twinkles a good deal less than usual. Whether Sir Ralph Richardson looks good throwing a punch is something you'll have to decide for yourself.However, the camera falls in love with picturesque young boys diving into water, which delays, over-ornaments and distracts from Conrad's austere story-telling.More importantly, two of the female characters, Mrs. Almayer and Mrs. Willems, are turned from native women into transplanted Englishwomen, leaving Aissa the only native girl involved.This has the effect of turning the movie into a tract on the horrors of miscegenation, when Conrad's novel is clearly focused on Peter Willems' double betrayal of Tom Lingard. Willems' taking up with a native woman is treated by the film as unique, instead of the usual thing in these climes. It is shown as embodying Willems' personal moral decline, which the book would regard as nonsense.So if you can find the film, by all means watch it and enjoy its many virtues, but the movie has less to do with one of the great novels then it pretends to.P.S. TCM now has this film in its library!

This movie got short shrift critically, because it followed Carol Reed's three greatest films, "Odd Man Out," "The Fallen Idol," and "The Third Man." It's been a while since I saw it, but if you get a chance and you're a fan of Reed's adventurous filmmaking, check it out. A riveting performance by Trevor Howard -- this, plus his performances in 3rd Man and Brief Encounter show an astonishing range. Robert Morley is wonderful as well.My most memorable moments that still haunt me years after I saw the film: Morley "singing" a lullaby to his daughter ("Schlaf, kindchen, Schlaf") as Howard approaches in the night -- and said daughter calling "Pig!" after Howard's character later in the same scene. The bonfire, and Morley's torture. And Howard spotting Kerima standing in the water among the posts -- beautiful photography.An unjustly forgotten film. May it play at a repertory theater near you.