As opposed to his sunny Villa I Tatti and its verdant surroundings outside Florence, the finances of Bernard Berenson and wife in 1937 are as dismal as their political situation under "the duck," as he calls Mussolini. In constant pain, Mary wants to ensure an inheritance for her children by a previous marriage. Despite having to share BB (charming Edward Fox) with his secretary Nicky and a masseuse, Mary loves him nonetheless. (Barbara Jefford applies her impressive Shakespearian experience to suggest a certain grandeur in Mary along with intelligence. Younger Sally Dexter still presents a mature mistress, less dramatic but poised, pretty, competent.) The one who most wants to charm BB - in this case, into attributing a painting to the Italian master Giorgione - is famous art dealer Joseph Duveen. The wealthiest of his rich American clients wants a rarity, not "just" another masterpiece by prolific Titian. If only BB would switch his attribution of "The Adoration Of The Shepherds" to the master Giorgione, rather than to his pupil! When Duveen's stooge Fowles (likeable Michael Simkins) fails to get BB to change, Duveen himself (slick Peter Bowles) comes to cajole and proposition. The dramatic clash of two completely different minds, manners, moralities ensues. Both women contribute to the fray, but on a personal level, rather than one of values.
Typically, author Gray focuses on one mans dilemma as reflective of his society's political, economic, social problems. Danger posed to Berenson because of his Jewish origin is somewhat mitigated by Edward Fox's portrayal of BB as a professorial, almost tweedy Englishman. Black from derby down to well-shined shoes, Bowles' Duveen speaks slyly, would not hesitate to flatter, enjoys making disguised bribes. Studied but clearly contemptuous, BB is revealed by Fox in stages.
All the performances do more than justice to the play. In the enigmatic fashion associated with director Harold Pinter, the conclusion isn't neat, yet the whole is not unsatisfying. On the other hand, there's a hint about Mary Berensons contribution to her husband's publications that may bear further investigation...
