The Quiet American suffers from several defects which have been pointed out in various posts and reviews to both the 1958 and 2002 versions. A summary of the major ones follows.
First, the casting of a European actress as Phuong was deadly. Every time she came on camera, I winced. The fact that Phuong, and her Asian upbringing and character, are central to the plot only served to highlight the fact that this woman did not look, act or sound Asian in the least. Think of casting Sylvester Stallone for the lead in "Ali." Second, Audie Murphy was not up to the role. Murphy's acting credentials were not strong, but in the right spots he was capable of being effective. Here, however, Murphy spouts the dialog in much the same manner as a grade-school child reciting poetry they don't really comprehend. By god, he's memorized every word of it, and it is going to come out.
Third, and most egregious, are the liberties taken with the plot. Apparently because of the political pressures permeating the industry at this time, the decision was made to make Murphy's death a Communist plot. It is never explained why the Communists would have gone to such great lengths to kill someone who could have just been laughed off, and who was being kicked out of Indochina in any event. Regardless, this choice had the effect of stripping both male leads of any complexity or richness of character. Murphy comes across as a overage boy scout of almost unbelievable naivety. Fowler assists with the Communist plot clearly to eliminate his rival for Phuong, and not to save Vietnamese lives. Denuded of any moral ambiguity, he is merely pathetic.
I had expected more in a Mankiewicz movie, but apparently I failed to take into account the political climate during which it was made. Watch this movie as a curiosity, but for entertainment, see the 2002 version, or better yet, read the book.
First, the casting of a European actress as Phuong was deadly. Every time she came on camera, I winced. The fact that Phuong, and her Asian upbringing and character, are central to the plot only served to highlight the fact that this woman did not look, act or sound Asian in the least. Think of casting Sylvester Stallone for the lead in "Ali." Second, Audie Murphy was not up to the role. Murphy's acting credentials were not strong, but in the right spots he was capable of being effective. Here, however, Murphy spouts the dialog in much the same manner as a grade-school child reciting poetry they don't really comprehend. By god, he's memorized every word of it, and it is going to come out.
Third, and most egregious, are the liberties taken with the plot. Apparently because of the political pressures permeating the industry at this time, the decision was made to make Murphy's death a Communist plot. It is never explained why the Communists would have gone to such great lengths to kill someone who could have just been laughed off, and who was being kicked out of Indochina in any event. Regardless, this choice had the effect of stripping both male leads of any complexity or richness of character. Murphy comes across as a overage boy scout of almost unbelievable naivety. Fowler assists with the Communist plot clearly to eliminate his rival for Phuong, and not to save Vietnamese lives. Denuded of any moral ambiguity, he is merely pathetic.
I had expected more in a Mankiewicz movie, but apparently I failed to take into account the political climate during which it was made. Watch this movie as a curiosity, but for entertainment, see the 2002 version, or better yet, read the book.