Sinful Davey


1h 35m 1969
Sinful Davey

Brief Synopsis

Love complicates a 19th-century Scot's efforts to follow in his father's criminal footsteps.

Film Details

Also Known As
The Sinful Adventures of Davey Haggart
MPAA Rating
Genre
Comedy
Romance
Drama
Historical
Biography
Adaptation
Release Date
Jan 1969
Premiere Information
Baltimore opening: 7 May 1969
Production Company
Mirisch--Webb Productions
Distribution Company
United Artists
Country
United Kingdom
Location
Ireland
Screenplay Information
Based on the novel The Life of David Haggart by David Haggart (1821).

Technical Specs

Duration
1h 35m
Sound
Mono
Color
Color (Eastmancolor)
Theatrical Aspect Ratio
2.35 : 1

Synopsis

In Scotland in the early 1820's young Davey Haggart vows to follow in the footsteps of his late father, a would-be highwayman who was hanged at the age of 21 for an ill-fated robbery attempt on the Duke of Argyll. Deserting from the King's Army, Davey joins forces with MacNab, a grubby pickpocket, but their efforts at thievery (including the filching of a corpse for medical research) succeed only in landing them in jail. Unable to escape, Davey breaks into the women's quarters and cavorts with Jean Carlisle, trollop to a band of roving criminals. Once he has been bailed out by Annie, a childhood friend from his orphanage days, Davey helps MacNab escape and then robs a stagecoach on his own. When word of the holdup reaches Constable Richardson, he solicits Annie's help, warning her that Davey's efforts to follow in his father's footsteps will eventually lead to the gallows. Although she, too, wants Davey to reform, Annie refuses to cooperate and does what she can to foil the constable's pursuit. Davey, meanwhile, is residing in the Scottish highlands and matching wits with Jock, a dastardly innkeeper. While fleeing from the irate father of a girl he has seduced, Davey rescues Sir James Graham from four young ruffians. Unaware that his savior has pocketed his money, Sir James invites Davey to visit the home of his uncle, the Duke of Argyll. Delighted at this opportunity to meet his father's nemesis, Davey accompanies Sir James on his journey, followed by MacNab and Jean, who in turn are followed by Annie and the constable. Using a false name, Davey endears himself to the duke and his niece Penelope and plots with MacNab and Jean to rob the guests the duchess has invited to her grand ball. Everything goes as planned until Annie, still determined to reform Davey, returns all the stolen jewels. The constable discovers Davey's identity and goes after him. Eluding the constable's hounds, Davey mounts a horse, becomes embroiled in a fox hunt, gallops across a golf course, and is knocked flat by a low flying tee shot. Arrested, tried, and sentenced to be hanged, he sits in his cell writing his memoirs as the duke, now his loyal friend, plays the bagpipes for his pleasure. On the day of execution, however, Annie and MacNab rig the gallows, fake Davey's hanging, and whisk him away. After dancing in a graveyard, Davey and Annie ride off together into the hills.

Film Details

Also Known As
The Sinful Adventures of Davey Haggart
MPAA Rating
Genre
Comedy
Romance
Drama
Historical
Biography
Adaptation
Release Date
Jan 1969
Premiere Information
Baltimore opening: 7 May 1969
Production Company
Mirisch--Webb Productions
Distribution Company
United Artists
Country
United Kingdom
Location
Ireland
Screenplay Information
Based on the novel The Life of David Haggart by David Haggart (1821).

Technical Specs

Duration
1h 35m
Sound
Mono
Color
Color (Eastmancolor)
Theatrical Aspect Ratio
2.35 : 1

Articles

Sinful Davey


Sinful Davey (1969) is the story of a Scottish scoundrel, so you have to wonder why John Huston chose to film it on Irish locations and in an Irish studio. He says little to illuminate this in his 1980 autobiography, An Open Book, but an answer surely lies in his longtime love of Irish history and values. Huston had Scottish-Irish ancestry and lived in Ireland from 1952 to 1975, although he shot many productions in other countries during that time. When asked why he moved there and even became a citizen of the Irish Republic, he usually talked about how good the countryside was for hunting, and how convenient it was to live in Europe, where many of his movies were shot.

Beyond these practical reasons, Huston felt a deep connection with Irish culture, which gave him a "serenity and a tranquility that assuages the spirit," as he put it in an interview shortly after the rising cost of living made him reluctantly decide to move elsewhere. Even then he remained loyal to his adopted country. "I go back to Ireland," he said, "to lick the wounds that have been inflicted on me in the outer world." Unfortunately for Huston, he acquired a number of wounds in Ireland as well. The critical and commercial failure of Sinful Davey was one of them.

There actually was a Sinful Davey, and Huston's movie is based on the memoir this rascal published in Edinburgh in 1821, written by "Himself, While Under Sentence of Death" and grandiosely titled The Life of David Haggart, Alias John Wilson, Alias John Morison, Alias Barney McCoul, Alias John McColgan, Alias Daniel O'Brien, Alias The Switcher. The book's frontispiece is a drawing of Haggart sitting on a bench in his death-row cell, one leg tied to the floor with a lengthy rope, pen and ink on a shelf nearby. He appears to be quite content, and looks very little like John Hurt, who plays him in the movie. He was executed on July 18, 1821, for "the murder of the late Thomas Morrin, turnkey in the jail of Dumfries," according to the preface of his book; but in prison he expressed remorse for his crimes, the preface adds, and "left the world a sincere penitent."

Huston's movie begins at about the time the real Haggart was waiting for the noose. Davey is in the army when we first meet him, marching in formation and beating a bass drum. But military discipline is definitely not for him; instead, his ambition is to commit as many sins as his father did before getting hanged for a botched robbery at 21. Deserting the corps by jumping off a bridge and floating away in his drum, Davey hooks up with a pickpocket named MacNab, and escapades galore soon follow, ranging from robbery to seduction. He's always in some kind of trouble, and while he sometimes escapes on his own, other times he's bailed out by Annie, a childhood friend who quietly loves him and wishes he'd get religion and settle down.

A turning point comes when Davey meets the Duke of Argyll, the very man who had his father hanged. Davey ingratiates himself with the duke and duchess, pulls off a heist during their fancy-dress ball, gets caught when Annie foils his plan for his own good, and runs for his life in the most elaborate of the movie's many chases. Like the real Davey, he winds up in the death house; but Huston grants him a last-minute getaway, and in the end it looks like he might possibly settle down with Annie after all.

Sinful Davey has an enjoyable cast, energetically headed by Hurt, who appears to be having a great time even when the story gets so far-fetched that even his fine talent can't make it believable. Among the veteran British actors on hand are Ronald Fraser as MacNab the pickpocket, Pamela Franklin as loyal Annie, Nigel Davenport as a constable on Davey's trail, inimitable Robert Morley as the good-natured duke, and Donal McCann, who would later deliver a superb performance in Huston's last film, The Dead (1987), as another aristocrat who crosses Davey's path. They do what they can to make the movie work, and Huston kicks in as much action, color, and buffoonery as the screen will hold, helped by two gifted cinematographers, Freddie Young and Edward Scaife, and a lot of Irish scenery. In the end, though, James R. Webb's screenplay is too patchy and episodic to gather much momentum, and the story's sheer silliness eventually catches up with it, making the whole affair seem more frantic than funny.

I suspect Sinful Davey was inspired less by Haggart's memoir than by the phenomenal success of Tony Richardson's picaresque Tom Jones (1963), based on Henry Fielding's eighteenth-century novel, six years earlier. In his New York Times review of Sinful Davey, critic Vincent Canby mischievously speculated that United Artists agreed to finance it because they thought it came from the author of Tom Jones, not the screenwriter of Guns for San Sebastian (1968). Canby places Sinful Davey into Huston's "tired period," and Huston might not have disagreed. "I made a series of films between 1968 and 1973," he wrote in An Open Book, "that were either outright failures or, at best, only moderately successful." The first was Sinful Davey and the last was The MacKintosh Man (1973), after which The Man Who Would Be King (1975) ended the losing streak by becoming a smash hit. Of these, only Fat City (1972) has been substantially upgraded by critics in later years, although Huston authority John McCarty makes a case for Sinful Davey as a savvy reflection on youth during the tumultuous 1960s. Calling it "a mordant black comedy about crime and criminals that harks back to Huston's Beat the Devil (1953) and looks forward to Prizzi's Honor (1985)," McCarty argues in The Films of John Huston that its humor simply had too much "subtlety" to be detected by critics and audiences.

Huston didn't accept all the blame when Sinful Davey flopped. "The picture was a light-hearted romp...and, I thought, an altogether delightful affair," he wrote. Then he handed it to executive producer Walter Mirisch and was "aghast" when he saw it again. Mirisch had "given full sway to his creative impulses," Huston complained, making the story a flashback by transferring a scene from the end to the beginning, and adding a "dreadful narration" to boot. "What was rather blithe and unserious became clotted and cluttered and distasteful," he told a biographer. Mirisch, meanwhile, told the same biographer that Huston had missed a couple of preview screenings where people streamed for the exits, forcing him to make it "more accessible and less confusing." When that didn't work, UA yanked it from release after a week.

Whatever the reasons, Sinful Davey was a box-office fiasco that nobody has particularly wanted to own. But it's also an interesting document from Huston's tired period, showing what can happen when a great director and a major studio clash over a project that was probably fated from the beginning not to click.

Director: John Huston
Producer: William N. Graf
Screenplay: James R. Webb
Cinematographers: Freddie Young, Edward Scaife
Film Editing: Russell Lloyd
Production Design: Stephen Grimes
Music: Ken Thorne
With: John Hurt (Davey Haggart), Pamela Franklin (Annie), Nigel Davenport (Richardson), Ronald Fraser (MacNab), Robert Morley (Duke of Argyll), Fidelma Murphy (Jean Carlisle), Maxine Audley (Duchess of Argyll), Fionnuala Flanagan (Penelope), Donal McCann (Sir James Campbell), Allan Cuthbertson (Captain Douglas), Eddie Byrne (Yorkshire Bill), Niall MacGinnis (Boots Simpson), Noel Purcell (Jock), Judith Furse (Mary), Francis de Wolff (Andrew), Paul Farrell (Bailiff), Geoffrey Golden (Warder McEwan), Leon Collins (Doctor Gresham)
C-95m. Letterboxed.

by David Sterritt
Sinful Davey

Sinful Davey

Sinful Davey (1969) is the story of a Scottish scoundrel, so you have to wonder why John Huston chose to film it on Irish locations and in an Irish studio. He says little to illuminate this in his 1980 autobiography, An Open Book, but an answer surely lies in his longtime love of Irish history and values. Huston had Scottish-Irish ancestry and lived in Ireland from 1952 to 1975, although he shot many productions in other countries during that time. When asked why he moved there and even became a citizen of the Irish Republic, he usually talked about how good the countryside was for hunting, and how convenient it was to live in Europe, where many of his movies were shot. Beyond these practical reasons, Huston felt a deep connection with Irish culture, which gave him a "serenity and a tranquility that assuages the spirit," as he put it in an interview shortly after the rising cost of living made him reluctantly decide to move elsewhere. Even then he remained loyal to his adopted country. "I go back to Ireland," he said, "to lick the wounds that have been inflicted on me in the outer world." Unfortunately for Huston, he acquired a number of wounds in Ireland as well. The critical and commercial failure of Sinful Davey was one of them. There actually was a Sinful Davey, and Huston's movie is based on the memoir this rascal published in Edinburgh in 1821, written by "Himself, While Under Sentence of Death" and grandiosely titled The Life of David Haggart, Alias John Wilson, Alias John Morison, Alias Barney McCoul, Alias John McColgan, Alias Daniel O'Brien, Alias The Switcher. The book's frontispiece is a drawing of Haggart sitting on a bench in his death-row cell, one leg tied to the floor with a lengthy rope, pen and ink on a shelf nearby. He appears to be quite content, and looks very little like John Hurt, who plays him in the movie. He was executed on July 18, 1821, for "the murder of the late Thomas Morrin, turnkey in the jail of Dumfries," according to the preface of his book; but in prison he expressed remorse for his crimes, the preface adds, and "left the world a sincere penitent." Huston's movie begins at about the time the real Haggart was waiting for the noose. Davey is in the army when we first meet him, marching in formation and beating a bass drum. But military discipline is definitely not for him; instead, his ambition is to commit as many sins as his father did before getting hanged for a botched robbery at 21. Deserting the corps by jumping off a bridge and floating away in his drum, Davey hooks up with a pickpocket named MacNab, and escapades galore soon follow, ranging from robbery to seduction. He's always in some kind of trouble, and while he sometimes escapes on his own, other times he's bailed out by Annie, a childhood friend who quietly loves him and wishes he'd get religion and settle down. A turning point comes when Davey meets the Duke of Argyll, the very man who had his father hanged. Davey ingratiates himself with the duke and duchess, pulls off a heist during their fancy-dress ball, gets caught when Annie foils his plan for his own good, and runs for his life in the most elaborate of the movie's many chases. Like the real Davey, he winds up in the death house; but Huston grants him a last-minute getaway, and in the end it looks like he might possibly settle down with Annie after all. Sinful Davey has an enjoyable cast, energetically headed by Hurt, who appears to be having a great time even when the story gets so far-fetched that even his fine talent can't make it believable. Among the veteran British actors on hand are Ronald Fraser as MacNab the pickpocket, Pamela Franklin as loyal Annie, Nigel Davenport as a constable on Davey's trail, inimitable Robert Morley as the good-natured duke, and Donal McCann, who would later deliver a superb performance in Huston's last film, The Dead (1987), as another aristocrat who crosses Davey's path. They do what they can to make the movie work, and Huston kicks in as much action, color, and buffoonery as the screen will hold, helped by two gifted cinematographers, Freddie Young and Edward Scaife, and a lot of Irish scenery. In the end, though, James R. Webb's screenplay is too patchy and episodic to gather much momentum, and the story's sheer silliness eventually catches up with it, making the whole affair seem more frantic than funny. I suspect Sinful Davey was inspired less by Haggart's memoir than by the phenomenal success of Tony Richardson's picaresque Tom Jones (1963), based on Henry Fielding's eighteenth-century novel, six years earlier. In his New York Times review of Sinful Davey, critic Vincent Canby mischievously speculated that United Artists agreed to finance it because they thought it came from the author of Tom Jones, not the screenwriter of Guns for San Sebastian (1968). Canby places Sinful Davey into Huston's "tired period," and Huston might not have disagreed. "I made a series of films between 1968 and 1973," he wrote in An Open Book, "that were either outright failures or, at best, only moderately successful." The first was Sinful Davey and the last was The MacKintosh Man (1973), after which The Man Who Would Be King (1975) ended the losing streak by becoming a smash hit. Of these, only Fat City (1972) has been substantially upgraded by critics in later years, although Huston authority John McCarty makes a case for Sinful Davey as a savvy reflection on youth during the tumultuous 1960s. Calling it "a mordant black comedy about crime and criminals that harks back to Huston's Beat the Devil (1953) and looks forward to Prizzi's Honor (1985)," McCarty argues in The Films of John Huston that its humor simply had too much "subtlety" to be detected by critics and audiences. Huston didn't accept all the blame when Sinful Davey flopped. "The picture was a light-hearted romp...and, I thought, an altogether delightful affair," he wrote. Then he handed it to executive producer Walter Mirisch and was "aghast" when he saw it again. Mirisch had "given full sway to his creative impulses," Huston complained, making the story a flashback by transferring a scene from the end to the beginning, and adding a "dreadful narration" to boot. "What was rather blithe and unserious became clotted and cluttered and distasteful," he told a biographer. Mirisch, meanwhile, told the same biographer that Huston had missed a couple of preview screenings where people streamed for the exits, forcing him to make it "more accessible and less confusing." When that didn't work, UA yanked it from release after a week. Whatever the reasons, Sinful Davey was a box-office fiasco that nobody has particularly wanted to own. But it's also an interesting document from Huston's tired period, showing what can happen when a great director and a major studio clash over a project that was probably fated from the beginning not to click. Director: John Huston Producer: William N. Graf Screenplay: James R. Webb Cinematographers: Freddie Young, Edward Scaife Film Editing: Russell Lloyd Production Design: Stephen Grimes Music: Ken Thorne With: John Hurt (Davey Haggart), Pamela Franklin (Annie), Nigel Davenport (Richardson), Ronald Fraser (MacNab), Robert Morley (Duke of Argyll), Fidelma Murphy (Jean Carlisle), Maxine Audley (Duchess of Argyll), Fionnuala Flanagan (Penelope), Donal McCann (Sir James Campbell), Allan Cuthbertson (Captain Douglas), Eddie Byrne (Yorkshire Bill), Niall MacGinnis (Boots Simpson), Noel Purcell (Jock), Judith Furse (Mary), Francis de Wolff (Andrew), Paul Farrell (Bailiff), Geoffrey Golden (Warder McEwan), Leon Collins (Doctor Gresham) C-95m. Letterboxed. by David Sterritt

Quotes

Trivia

Notes

Location scenes filmed in Ireland. Opened in London in May 1969. British sources credit Pevsner and Brennan as assistant directors; U. S. sources credit Pevsner and O'Connor. The working title of this film is The Sinful Adventures of Davey Haggart.

Miscellaneous Notes

Released in United States May 7, 1969

Released in United States Spring March 5, 1969

Anjelica Huston's role was uncredited.

Released in United States Spring March 5, 1969

Released in United States May 7, 1969