90
This is a fine example of British commercial filmmaking at its highest level of craftsmanship.
What are people saying?
What are critics saying?
100
Washington Post by Ann Hornaday
This is an example of a writer and director working in perfect harness, with Reed smoothly ratcheting up the story's suspense and Greene speculating on his cardinal theme of moral ambiguity. They don't make movies like The Fallen Idol anymore, all the more reason to see it now while you can.
80
It might be lesser known, but certainly not deservingly so. This is a cracking piece of Brit cinema.
90
The Fallen Idol has been overshadowed by the noir comedy, giddy style, and Cold War thematics of Reed and Greene's subsequent sensation "The Third Man," but (in similarly dealing with the nature of betrayal) The Fallen Idol is actually a superior psychological drama.
100
One of the great movies about childhood innocence accidentally violated by adults...Reed, an often inconsistent filmmaker, handles the brutal mechanics of the plot superbly, with the marbled interiors of the embassy contrasting sharply with his almost neo-realist outdoor shots of postwar London.
80
The New York Times by Manohla Dargis
Beautifully shot by the French cinematographer Georges Périnal (whose credits include Cocteau's "Blood of a Poet"), the film soon evolves from a claustrophobic domestic affair into a mordantly discomfiting look at the betrayal of innocence.
91
Portland Oregonian by Marc Mohan
The result is a gripping film which, despite the annoying rugrat, demonstrates how part of leaving childhood behind is learning how and when to lie, and to do it well.
91
Baltimore Sun by Michael Sragow
A masterpiece of psychological suspense.
88
Formally, the movie's a lasting pleasure: Reed's incisive direction; Greene's easy yet weighted dialogue; the farseeing deep-focus photography of Georges Perinal; Vincent Korda's luxuriant sets.
100
Seattle Post-Intelligencer by William Arnold
Cinema does not get much better than this.