'The Comedians' (1967) Movie of the Book by Graham Greene

Directed by Peter Glenville and adapted by Graham Greene himself, 'The Comedians' is a political drama based on Greene’s 1966 novel. Set in Haiti during the brutal dictatorship of François "Papa Doc" Duvalier, the film explores themes of political terror, moral ambiguity, and personal disillusionment. Despite an all-star cast and a script faithful to the novel’s tone, the film struggles to fully capture the novel’s psychological depth and political complexity.

Plot Overview
The story follows Brown (Richard Burton), a cynical hotel owner in Port-au-Prince, who finds himself entangled in the violence and paranoia of Papa Doc’s oppressive regime. Brown’s life intersects with several outsiders: Major Jones (Alec Guinness), a bluff conman posing as a military expert; the Smiths (Paul Ford and Lillian Gish), naïve American idealists promoting vegetarianism; and Martha Pineda (Elizabeth Taylor), the wife of a South American ambassador with whom Brown is having an affair.

As political tensions rise and the secret police—the feared Tontons Macoutes—tighten their grip, Brown is drawn deeper into the moral complexities of survival, betrayal, and courage.

Performances
The cast is impressive on paper but delivers uneven performances:

Richard Burton embodies Brown’s world-weary cynicism with a brooding intensity, though his detached manner sometimes flattens the emotional stakes.

Elizabeth Taylor, as the passionate but conflicted Martha, adds glamour but lacks the subtlety to convey her character’s inner turmoil.

Alec Guinness provides a scene-stealing turn as the delusional but oddly likable Major Jones, blending humor and pathos effectively.

Lillian Gish, as the idealistic Mrs. Smith, gives one of the film’s most heartfelt performances, her quiet dignity contrasting the surrounding chaos.

Despite their individual talents, the chemistry between the leads—particularly Burton and Taylor—feels strained, perhaps reflecting the off-screen tension in their real-life relationship.

Direction and Cinematography
Peter Glenville’s direction is competent but lacks the urgency and claustrophobia that made the novel so powerful. The Haitian setting, though visually striking, often feels like a picturesque backdrop rather than a living, breathing dystopia. Cinematographer Henri Decaë captures the beauty and menace of Haiti’s landscapes, but the film’s pacing is sluggish, diluting the tension inherent in Greene’s narrative.

Themes
Like the novel, the film delves into themes of political repression, moral compromise, and the blurred line between heroism and cowardice. Brown, as the ultimate "comedian," symbolizes the detached bystander unwilling—or unable—to take a definitive moral stance. Major Jones, in contrast, represents the absurdity of self-delusion in the face of real danger. However, the film’s slower rhythm blunts the existential urgency that permeates Greene’s prose.

Faithfulness to the Novel
Greene’s screenplay remains largely faithful to his novel’s plot and dialogue but softens some of its darker edges. The novel’s pervasive sense of dread and moral ambiguity doesn’t fully translate to the screen, and the film’s more conventional storytelling downplays the psychological complexity of its characters.

Legacy and Reception
Upon release, The Comedians received mixed reviews. Critics praised the performances of Guinness and Gish but criticized the film’s lack of dramatic momentum. It failed to achieve the cultural or cinematic impact of other Greene adaptations like The Third Man (1949) or The Quiet American (1958). Still, the film remains an intriguing companion piece to the novel and a historical snapshot of Cold War-era anxieties.

Conclusion
The Comedians (1967) is an earnest but flawed adaptation of Graham Greene’s politically charged novel. While the film benefits from a prestigious cast and a faithful script, its slow pacing and uneven performances dilute the intensity of Greene’s vision. Fans of the novel or those interested in politically driven dramas may find it worthwhile, but as a cinematic experience, it falls short of fully conveying the haunting moral ambiguities that make Greene’s work so enduring.