Maybe it's my morbid imagination, but I had to wonder after seeing this film how the marriage fared. Considering that it was constently pointed out how child-like the Mimieux character was, one wonders if the marriage was actually consumated and if there were any children, whom I would imagine to be very photogenic. Would Hamilton get tired of Mimieux in a matter of days, weeks or months and start going out with various mistresses or have discreet liasons with prostitutes. Would he keep Mimieux locked in the family villa or institutionalized? There may be light in the piazza, but the premise for this film logically leads to someplace dark and gothic as far as I'm concerned.

Green's previous film, The Mark, is amazing in that you had relatively major Hollywood talent making a film that probably could not be made today. Actually, the only film I can think of off-hand that was made recently about a child molester was The Woodman, which pretty much came and went from theaters in a hurry. It's been almost forty years since I saw The Mark, which was broadcast on late night television a couple of times. The film is about a convicted child molester, Stuart Whitman, who upon release from prison, attempts to live a "normal" life. In addition to checking in with his psychiatrist, Rod Steiger, Whitman tentatively establishes an adult relationship with Maria Schell. Based on what is more common knowledge now, child molesters usually do not change, or have an even harder time than Stuart Whitman does in this film. The Mark seems more meaningful when one considers how much harder it seems to make a thoughtful film on a serious subject in today's current film making landscape.

Going back to Green's career as a cinematographer, he co-founded the Royal Society of Cinematographers with Freddie Francis and Jack Cardiff. As a cinematographer, Green is probably best remembered for his work with David Lean on the two Dickens adaptations, Oliver Twist and Great Expectations. Green won an Academy Award for the latter. On the downside, Green worked on two of Lean's least remembered films, The Passionate Friends and Madeleine.

Green's last theatrical film as a director was the camp classic, Once is not Enough. Unlike Francis or Cardiff, Green never had enough sense to go back to being a cinematographer when recognizing that the directorial assignments would never get better. The closest Green came to being awarded as a director was for a film he also wrote, A Patch of Blue. Maybe as the first British cinematographer to win an Academy Award, once wasn't enough.