icblue02 Reviews

Devotion (1946)

Far better than one is lead to believe

[8/10 · 15 November 2006]

To say that DEVOTION is an accurate representation of the lives of Emily and Charlotte Bronte is as erroneous as saying that 1939's WUTHERING HEIGHTS and 1944's JANE EYRE are flawless film interpretations of their respective novels. Viewers who seek to learn all they can about the sisters Bronte should look elsewhere. Those who wish to be enveloped in a well-written, well-acted tale of two of the greats of English literature should tune in whenever possible.

Ida Lupino and Olivia de Havilland turn in rich performances as Emily and Charlotte Bronte. Although much of the history in this film is distorted, these woman effectively convey the personalities of the actual Bronte women, as evidenced in scholarly research throughout the years. Charlotte (played by de Havilland) was known for being very outspoken, and driven toward making connections in the literary world and becoming a success. Her view was that life was just a series of experiences that provided her with material on which to base her prose. De Havilland conveys a dualistic Bronte, showing both her bold and outspoken tendencies, as well as her actual naive nature. Charlotte is challenged by the fact that, although not particularly well-versed in love and life, she has composed one of the greatest novels the literary world has ever known (Jane Eyre). Throughout the movie, we see a definite transition in Charlotte...the eldest Bronte indeed grows up.

For her part, Emily (played by Lupino) was much more introverted, preferring to use her experiences on the moors of Northern England and her own personal emotions to create her sole novel, Wuthering Heights. Lupino conveys a very intense, very troubled woman in her portrayal of Emily Bronte. Lupino and Arthur Kennedy effectively show the closeness that existed between Emily and Branwell Bronte, and their scenes together are among the most touching in the film. Lupino also has a mastery of the rather literary dialogue here, as she lends conviction to every line she is given.

Bottom line: If you want a complete and true account of the lives of the Bronte sisters, track down an A&E Biography on the topic. Although the characters in DEVOTION are reasonably true to the actual women (and the leading ladies play them well), the facts are skewed. Better yet, grab copies of Jane Eyre and Wuthering Heights, as most editions of the novels have thorough biographical notes on the authors (some even written by Charlotte Bronte). For a general notion of what made these women tick, however, watch DEVOTION. Just remember, literary license does apply.

Rachel, Rachel (1968)

Woman, Interrupted...

[9/10 · 29 August 2006]

When one has not really lived, life is actually a sort of slow death.

That is a pretty morbid thought, but it is the painful conclusion that Rachel (Joanne Woodward) comes to in the beginning of this film; her life isn't really a life, but a slow, lonely march to the grave. Accompanying Rachel on her "march" is a domineering mother, a best friend with deeper desires, and a man who, while fulfilling her (and his)physical urges, does nothing to edify her in the emotional sense. To top it all off, she desperately wants a child and is a schoolteacher, devoting much of her time to nurturing other peoples' children. To put it mildly, the outlook for Rachel seems rather bleak at the onset.

Yet in the course of the film, Woodward is able to, very simply and very delicately, convey a great awakening within Rachel. Rachel becomes aware of the fact that there is a great deal in life for her to see and experience. In the end, for the first time in her life, she makes a decision for herself, and sets about to potentially change the course of her life -- to make that journey toward the grave a little more meaningful.

Joanne Woodward is perfect in this film; there are no missteps in her work, and she is able to convey so much without ever overdoing it. This film is driven totally by the heart and the emotion of the characters, and Woodward conveys the internal side of a character better than almost anyone else. She truthfully taps into the basic human need to love and be loved, which is certainly no small task.

As viewers, we are left to wonder what is to come for Rachel, which definitely lends a deeper element of reality to the film. We are not sure if life will play out happily for Rachel, but we are not wholly convinced that she will be miserable, either; her future is uncertain. Then again, isn't the same true for all of us, to one degree or another?

The Heiress (1949)

Multi-layered masterpiece

[10/10 · 1 August 2006]

It is often said that when something seems too good to be true, it probably is. That may be so, but there are exceptions to every rule. THE HEIRESS is certainly cause for exception.

This film carries with it an emotional power that is unequaled by so many films in the history of American cinema. There really are no bad roles in this film, and all of the supporting players turn in good performances with what they are given. Miriam Hopkins and Montgomery Clift give tremendously adept performances as Aunt Penniman and Morris, but the film is carried to completely different heights by Olivia de Havilland and Ralph Richardson.

As Catherine walks up the stairs after being abandoned by Morris, it is wholly possible for the viewer to feel the weight of her pain and the burden of her struggle. It almost seems like the staircase is interminable, and that she will never make it to the top. When Catherine fumbles around for her dance card, nervous and excited due to Morris' attentiveness, one might be able to sense her giddiness, and want to reach through the screen and assist her. So real and so palpable is de Havilland's performance, that even her most seasoned fan can watch this film and completely forget that he is watching Olivia de Havilland; this film is about Catherine Sloper, and she is the only one de Havilland presents from the opening frame to the end credits.

Ralph Richardson gives a performance of equal magnitude in his portrayal of Dr. Austin Sloper. Richardson creates a rather believable, rather human duality in the character of Dr. Sloper -- after countless viewings of this film, I am still not completely sure if he is more guided by love ("I don't want to disinherit my only child!") or spite ("Only I know what I lost when she died...and what I got in her place."). Richardson tackles each facet of the character with great integrity, never once wavering in his skill and performance.

On a technical note, this film is fascinating for director William Wyler's use of space. When several people are conversing in one area, he does not always have them relating to each other all on one level. In the bon voyage scene, for example, Dr. Sloper stands nearest to the camera, gazing away from the action happening to his left. The viewer then has the opportunity to see Morris and Catherine's tender parting moment, Sloper's disgusted reaction, and Aunt Penniman's giddy/uncertain response. Numerous things occur simultaneously, just as they would in a real-life situation. The multiple layers of action allow even someone who has seen the film countless times to spot something new and different with each viewing. Further, Wyler's use of mirrors and lamp light is stunning as well, and serve to set the mood in a rather large, rather empty (physically and emotionally) mid 19th century home.

I have said so much already, and I know I could say much more in praise of this film if I allowed myself. Suffice it to say, this film is a must-see for all classic film fans, and even for people who don't know they are. It is certainly one of the finest in Hollywood history, and I am confident it will be discussed for many years to come.

The Snake Pit (1948)

More than meets the eye

[9/10 · 22 July 2006]

After a two year hiatus from films, embroiled in a court battle against Warner Brothers that would aid in the dismantling of the studio system in Hollywood, Olivia de Havilland returned to the big screen with a vengeance. Her first major success was TO EACH HIS OWN, which earned her the Academy Award for Best Actress of 1946. She would later earn another Best Actress Oscar for THE HEIRESS (1949). In between those two wins came another victory, on screen if not with the Academy.

Much has been said on this site about the basic plot line of THE SNAKE PIT (1948). Other users have already provided several synopses, so I will assume that anyone reading this will know the basic plot points: a woman is in a state mental hospital, and she isn't quite sure why she is there. Really, that's just the jumping off point for this film.

As many other users have already mentioned, Olivia de Havilland is brilliant in the role of Virginia Stuart Cunningham, a woman grappling to come to terms with her situation in the proverbial "snake pit" of the state hospital system in 1940s America. The role of Virginia could have become a farce in the hands of a less-skilled performer, but de Havilland's sensitivity and intelligence aided her tremendously in this rendering. For instance, there are some scenes where Virginia's mood and emotions change several times in a matter of seconds. There are a couple of instances where these mood swings can come off as a little overdone, but in a role that could have easily become a stereotypical presentation of a mentally unstable woman, de Havilland's performance works. Her gift for creating a likable, sympathetic character (coupled with well-written, largely internalized dialogue) make de Havilland's performance more successful than not.

Cinematically, the true achievement of this film is that nothing is wasted in it. Every line and every scene has a purpose and is executed to near perfection. Each supporting character (the cast is rather large, with actors playing the parts of patients in the overcrowded hospital wards) has a very clear identity that is made known to the viewer. It is quite possible to walk away from this film wanting to know more about the lives and stories of the other women in the facility: What exactly happened to Miss Somerville? Why does the dancing girl dance around? What is the background of the woman who is rattling off legal jargon and trying to clear her name? While most films of this subject matter would glaze over the "extras," this one takes the time to make you feel like they are more than, well, snakes in some bottomless pit. They are there, and in a sense, they have as much purpose in telling the bigger story than the major characters in the film.

This film, as well as Mary Jane Ward's bestselling novel on which it is based, sets out to expose the public to the behind-the-scenes aspects of state mental facilities and treatment at the time. While production codes and censors would not allow all of the truths of the system to be exposed, what could be shown was shocking, especially by 1948 standards. This film was able to affect change within the system, and it helped start a dialogue about those who were being lost in the system.

On the very basic level, this is a compelling psychological drama. It has a main character with whom the viewer can sympathize / empathize, and there are other riveting characters who can elicit laughter and tears from the viewer. On a whole different level, however, this film is a true classic. It is well-done cinematically and has proved to be influential in the social arena. When a film can have a social conscience and still be so personal, it's really hard to go wrong.

It's Love I'm After (1937)

" it's The Loving Triangle all over again . . . "

[7/10 · 14 July 2006]

I caught this on TCM as part of the Bette Davis Star of the Month tribute, and I have to admit, I didn't expect much. The thought of Davis, Howard, and de Havilland in a purely comedic film just seemed a little implausible to me. Thankfully, I was wrong; after five minutes, wild horses couldn't have pulled me away!

Howard plays Basil Underwood, the heartthrob of the theatre world. While touring the nation in Shakespearean plays, he builds quite a reputation as a lady's man, breaking hearts from sea to shining sea. On the eve of his elopement to his long-suffering co-star / fiancé Joyce (Davis), Basil is faced with a dilemma: in order to redeem himself in the eyes of an old friend, and in a vain attempt to make resolution for his many indiscretions with the fairer sex (the big blonde in New Orleans, the redhead in Denver, etc.), he has to make himself out to be a complete cad and cause a young fan (de Havilland) to hate him. The rest of the plot revolves around Basil's attempts to become a changed man, rather than the "bad odor" he is affectionately called at the beginning of the film.

Howard shines in this film; you can tell that he is really having some fun in this one. He plays the cad well, and is enjoyable at it. Davis has a basically supporting role, but handles what she is given with ease and sarcasm. De Havilland is a bundle of girlish charm and energy, and her blind adoration of Basil makes for some really cute situations.

The star, however, is Eric Blore, who plays Digges (Basil's valet and, essentially, his conscience). Forever packing (and unpacking) the bags and keeping track of Basil's dirty deeds, this man puts up with it all and handles it with unnerving calm and a sharp wit. Oh, and he does a mean bird call!

Although not the best of any of the primary players' careers, this is certainly a must-see for any fan of Howard, Davis, and de Havilland, or anyone just looking for a cute movie to make them smile. The last time I laughed this hard at primarily dramatic actors in a movie together was when I saw VALLEY OF THE DOLLS recently...the major difference is that Howard, Davis, and de Havilland intended to make a comedy. Enjoy!

The Strawberry Blonde (1941)

de Havilland's mastery of comedy...

[9/10 · 28 November 2005]

I alluded to this film (or de Havilland's performance in it) in my analysis of Government Girl (1943). After a much-belated second viewing of this movie, however, I think it's time to comment on this one. While the performances in this film are all endearing in their own right, the movie is made by the performance of Olivia de Havilland.

I first saw this film about 10 years ago, and had not really watched many older movies at that point. I was taken in by the humorous dialogue and the love story, but did not really appreciate what went into the performances in it. Several years later, and after seeing several of de Havilland's more dramatic roles, I am even more impressed by her range as an actress.

Particularly of note, watch the stiffness of Amy Lind's (de Havilland) gestures and how blunt her vocal intonations are when she is putting on her suffragette face, as opposed to the soft and gentle nature of her motions and speech when she is playing a more "traditional" female role for the time period. She transforms herself in the role and really seems to master the comedic side of it. Actors constantly comment on how much harder it is to be funny than serious, but it seems of equal ease for this mostly dramatic performer.

While her dialogue is very snappy and sharp, I particularly appreciate the non-verbal communication of her character. So much can be said with a wink, and de Havilland conveys that with the best of them. I thought it especially endearing how both sides of her character are brought together in the closing seconds of the film. As she walks with Biff in the last scene, she beautifully presents both sides of the character, albeit in a joking manner, in a couple of lines of dialogue. Still, this transition makes her character come full circle, and sweetens the plot line all the more.

The Women (1939)

The "other women" of THE WOMEN...

[9/10 · 17 November 2005]

After reading other user comments for this film, I will admit that a good many viewers saw this movie as I did: a raucous free-for-all with memorable quotes, scenes, and personalities. I do, however, wish to expand upon a couple of reasonably untouched areas for commentary...the understated, underrated performances in the film, namely Joan Fontaine's portrayal of Peggy Day and Lucille Watson's Mrs. Moorehead.

One viewer commented that Fontaine's "Peggy" was, at times, along the lines of "mentally retarded" (other user's words, NOT mine). While everyone is entitled his own opinion, I assert that the complete point of the Peggy character can be lost in the mix of bigger, brasher characters and stars in the film. In every group of female friends, there is a "Peggy"... the naive, doe-eyed woman who is unsure and uncertain and tends to seek the counsel and affirmation of her older, wiser, more experienced friends. When it comes down to it, Peggy is a young woman, newly married, and dealing with the pressures of maintaining a Park Avenue life on a tight budget (at least by the standards of her friends!!). She is timid and unsure, and she finds solace and security in her older friends. This is incredibly normal where female relationships are concerned. So, while Fontaine's performance may seem, at times, to be a little over-dramatic, remember that the whole movie is over the top. That's part of what makes it so fun. The character of Peggy merely adds a little sincerity and innocence to a plot full of back-stabbing and lost youth.

Peggy's polar opposite, "Mrs. Moorehead," is yet another understated character and performance (played by Lucile Watson). This woman is the mother of the wise Mary Haines, and serves as Mary's sounding board. She offers advice to her daughter and dispatches sarcastic one-liners off the cuff that rival even many of Roz Russell and Paulette Goddard's best lines. She also pulls no punches with her honesty, whether you agree with her or not. Her comments about "those dreadful women" and her "fumigating" scene are particularly humorous. Keep an eye on her character, and I assure you the movie will be that much better!!

This movie, maybe more than any other I have seen, depends on the presence of all of the characters to a large degree. No one in this film is there on accident...they each have a very specific purpose in the plot. Allowing oneself to really appreciate the lesser characters can only serve to make to viewing experience more enjoyable each time.

Until They Sail (1957)

First impressions can be deceiving...

[6/10 · 15 November 2005]

I have to admit, when I first heard of this film, I didn't think it would keep my interest or attention. The casting, albeit comprised of talented performers, seemed a little odd: 40 year old Fontaine and 13 year old Sandra Dee as sisters sounds a little far fetched, but the pairing actually plays out believably on screen. The age difference translates into a believable mother/daughter type of sisterly relationship, which is appropriate since Fontaine's character has been left to tend to her three sisters after her parents' death.

Preconceived notions aside, the story is a compelling one, centering around four sisters in WWII New Zealand. Fontaine, Dee, Jean Simmons, and Piper Laurie all turn in admirable performances as the Lesley sisters in a plot that can sometimes seem a little implausible, or at the very least, ahead of it's time. Paul Newman also co-stars as a Marine officer who plays a pivotal role in the lives of the sisters, namely Simmons' character.

Not the best role of any of the principal actors' careers, but definitely worth seeing, especially if you are drawn to WWII era dramas.

Government Girl (1943)

What can't de Havilland do?

[6/10 · 13 January 2000]

For over a decade, I have been favorably impressed by the work of Olivia de Havilland. That said, I had no high hopes for this film; I wanted to watch this film just to say I had, and to see de Havilland in a comedic role. I was pleasantly surprised, and I found myself rather taken in by the humor. Having seen Miss de Havilland in her Academy Award winning performances and many other dramatic roles, I was impressed by her comedic timing, facial expressions, and sharp sarcasm, which is also very prominent in her portrayal of Amy Lind in THE STRAWBERRY BLONDE. I by no means consider this film one of Hollywood's best, but it isn't all that bad and is definitely worth a watch - particularly if you want to see de Havilland in a different kind of role.

Where the Boys Are (1960)

Not your typical romp on the beach...

[8/10 · 16 August 1999]

This film succeeds in the sense that it isn't a stereotypical beach flick. As a current college student, I can attest that it is rather believable, and, oddly enough, some of it applies to college gals today...nearly 40 years later. Actually, WHERE THE BOYS ARE offers the public a fairly realistic, in-depth portrayal of everyday kids in the 60s, as opposed to other beach movies of the period. Simply put: Frankie and Annette had nothing on these gals!

Contrary to what the title may lead one to believe, the focal point is not terribly superficial. Yeah, sure, the girls head to Lauderdale to nab a Yaley or two, but that becomes somewhat secondary to what actually transpires. Whether it was meant to be or not, this film is one of decisions, learning, and friendships that are strengthened due to the experiences four college girls share during Spring Break in Ft. Lauderdale.

The actors themselves are very believable; none of the main players outdo the others. Hart, Mimeux, Francis, and Prentiss do a wonderful job of conveying many different sides to the characters they portray. The supporting cast is equally skilled and effective in varying roles.

Though this isn't Academy Award winning material, it is definitely worth watching!