Introduction by Jay Carr

A recently restored Joseph Losey–Harold Pinter collaboration, Accident's chain of interlocking events is set in motion by Dirk Bogarde as an Oxford don mired in emotional conflict with a group of friends and faculty. "As simple, as bafflingly perfect, and as difficult to take apart as a circle…[Six characters] tear each other to pieces amid the droning calm of an English fall"—Tom Milne. (1967, 35 mm, 105 minutes)

First on the Road is Losey's unusual promotional short for the Ford Motor Company. (1959, 35 mm, 12 minutes)

In his earliest alliance with Harold Pinter, Losey critiques English class structures by observing a relationship between servant Dirk Bogarde and aristocrat James Fox. "The story of Faust…of a man and his alter ego, of one world swallowing another…The screenplay is pure Pinter, with dialogue acting primarily as a ritualistic mask designed to conceal the characters' misshaped lives"—British Film Institute. (1963, 35 mm, 115 minutes)

Another Pinter-Losey alliance was The Go-Between, an adaptation of L.P. Hartley's Edwardian novel and a nuanced analysis of the class system's social taboos. The daughter of a patrician family (Julie Christie) carries on an affair with a local tenant farmer (Alan Bates) through the aid of a young boy, the couple's go-between for trysts. "Losey's supreme achievement…and one of the world's great films"—Foster Hirsch. (1970, 35 mm, 116 minutes)

A terse allegory of social intolerance through a child's eyes, The Boy with Green Hair finds young war orphan Dean Stockwell snubbed by friends and townsfolk when his hair turns a mysterious color. Losey's first Hollywood feature is "a fantasy of unusual charm, addressing itself to the wave of paranoia that accompanied the Cold War, and to everyday racism."—Pacific Film Archive. Preserved by The Museum of Modern Art with funds provided by The Film Foundation and The Hollywood Foreign Press Association. (1948, 35 mm, 82 minutes)

Remaking Fritz Lang's expressionist tale of a haunted child murderer, Losey moved the location from 1930s Berlin to 1950s Los Angeles. His version stands on its own as a great interpretation, admired for David Wayne's lead performance. "The translation is faithful to Lang, to Losey, and to L.A."—Judy Bloch. Preserved by the Museum of Modern Art with funding provided by The Film Foundation. (88 minutes, 35 mm, 1951)

Losey's second Hollywood feature is, like his first, a study of community intolerance, a taut drama set among Mexican-American fruit-pickers in Southern California. "A courageous film, boasting among other things some very offbeat casting in supporting roles. Had the blacklist not changed the course of Losey's career, America might well have had another Lang or Siodmak"—William K. Everson. (1949, 35 mm, 83 minutes)

The operatic tenor of Losey's first British picture plays well with the talents of soon-to-be favorite lead actor Dirk Bogarde, cast as a career criminal caught in an odd social experiment at the home of psychiatrist Alexander Knox. "A fiercely energetic film (credited to producer Victor Hanbury) that transcends its limited budget and channels the resourcefulness of form that Losey learned on the stage and in the Hollywood studios"—Harvard Film Archive. (1954, 35 mm, 89 minutes)

Callow working-class private Tom Courtenay deserts the English army after witnessing the Battle of Passchendaele and other wartime terrors from the trenches. Court-martialed, the young soldier is defended by Dirk Bogarde, the army's lawyer assigned to the case. "The film is, in the end, a mystery of human experience on the subject of changes that are felt far more than they can be explained"—James Palmer. (1964, 35 mm, 88 minutes)

Losey's unusual period film "was elaborately designed," he said, "to give the effect of a series of Thomas Rowlandson prints." Although the director was not especially fond of it (period films were not his forte), The Gypsy and the Gentleman neatly expresses his position toward England's social system and introduces a young Melina Mercouri as the gypsy in her first English-speaking role. (1958, 35 mm, 103 minutes)