“WHISPERING SMITH” (1948) Review

“WHISPERING SMITH” (1948) Review

For years, I had assumed that Alan Ladd starred in only three Westerns – one of them being the acclaimed 1953 movie, “SHANE”. Yet, while perusing his filmography, I discovered that he had either starred or co-starred in a good number of “oaters”. One of them was the 1948 film, “WHISPERING SMITH”.

Based upon Frank H. Spearman’s 1906 novel, “WHISPERING SMITH” told the story of a railroad detective named Luke “Whispering” Smith who is assigned to investigate a series of train robberies in late 19th century Wyoming Territory. However, the case becomes personal for Luke when his oldest friend, a local rancher and railroad employee named Murray Sinclair becomes involved with the gang responsible for the robberies.

Superficially, “WHISPERING SMITH” seemed like the typical Western made by Hollywood studios during the studio era. If I have to be honest with myself, Westerns with any real depth seemed rare to me during the so-called “Golden Age of Hollywood” and now. I seriously doubt that any movie critic would regard “WHISPERING SMITH” as something unique. The movie possessed traits one could easily find in mediocre Westerns and a few really good ones:

*Outlaw gang robbing either locals or businesses that dominate the neighborhood

*Corrupt local businessman or rancher leading the outlaws

*Rancher or businessman’s main henchman, who happens to be a proficient killer

*Lawman assigned to hunt down outlaws

*Posse chases outlaw around neighborhood/county

Yes, “WHISPERING SMITH” possessed these traits. It also possessed a first-rate dramatic narrative that elevated the movie from the usual Western tropes – namely the love triangle between Luke Smith, his best friend Murray Sinclair and Murray’s wife Miriam Sinclair. This triangle was set five years in the past when Miriam, frustrated by Luke’s reluctance to propose marriage to her, married Murray. The latter never realized that Luke and Miriam still harbored lingering romantic feelings toward each other . . . until the film’s midway point.

Between his resentment toward Luke and Miriam, and being fired by his railroad boss George St. Cloud – whom he disliked – Murray made a choice that proved to be disastrous for his marriage and his friendship with Luke. The developing estrangement between Luke and Murray also proved to be difficult for the former as well. This was especially apparent in the film’s second half of the film. Due to his close friendship with Murray; Luke not only struggled and failed to save the other man’s job, but also convince the latter to give up his new alliance with the main villain, rancher Barney Rebstock.

“WHISPERING SMITH” not only benefited from this complex narrative regarding the Luke-Miriam-Murray relationship, but also the fine performances from its cast. Once again, Alan Ladd proved he was a better actor than many believed he was in his performance of the leading character, Luke Smith. What made Ladd’s performance first-rate his ability to not only convey Luke’s contrasting personality traits – soft-spoken, yet friendly demeanor and an intelligent ruthlessness – but also his varying array of emotions with a fluidity that still impress me to this day. Another superb performance came from Robert Preston, who portrayed Luke’s best friend Murray Sinclair. Superficially, Murray came off as a one-note personality. But thanks to Preston’s performance, Murray proved to a complicated character that transformed from a genial, yet sometimes pushy man to an embittered one, who had allowed his bullheadedness and temper to lead him to a bad choice. Brenda Marshall’s portrayal of Miriam Sinclair also struck me as equally impressive. Her Miriam proved to be an emotional and complicated woman, who struggled to repress her lingering feelings for Luke and determined to save Murray and her marriage. Marshall conveyed these aspects of Miriam’s emotional state in two excellent scenes. One of them featured her never ending frustration and resentment toward Luke’s failure to propose marriage all those years ago. And other featured a quarrel between Miriam and Murray in which she finally convinced him to sell their ranch and move away from the neighborhood . . . and Barney Rebstock’s orbit.

There were other performances I enjoyed. One of them came from William Demarest, who gave an emotional, yet satisfying portrayal of Bill Dansing, a railroad employee who had been friends of Luke and Murray for years and served as their father figure. Donald Crisp gave an amusing and entertaining performance as Barney Rebstock, the rancher who hid his criminal and ruthless behavior behind a genial mask. Another came from John Eldredge, whose portrayal of George McCloud, the railroad official who clashed with Murray, struck me as subtle and intelligent. I also enjoyed the solid performances from the likes of Fay Holden, Murray Vye, Ward Wood and Will Wright.

I have to say a word about Ray Rennahan’s cinematography. What can I say? I thought it was beautiful looking. Rennahan, who had won an Academy Award for his work in 1939’s “GONE WITH THE WIND”, also shot “WHISPERING SMITH” in Technicolor. I have seen other films shot in Technicolor that struck me as rather garish. I cannot say the same about “WHISPERING SMITH”. I found the photography sharp and colorful, without being garish, as shown in the image below:

Although I found myself impressed by the narrative regarding Luke’s relationship with the Sinclairs, I cannot disregard some of the film’s action sequences. There were two that really impressed me. One proved to the final sequence that featured the posse chasing Murray, Rebstock and the latter’s gang around the countryside following a train robbery. Sure, I thought it was an unoriginal trope to use in a Western. But I thought it was exciting and well shot by director Leslie Fenton. However, I was more impressed by Fenton’s work in the sequence that featured Luke’s encounter with the Barton boys – members of Rebstock’s gang – at a rail junction in the rain. It featured good action, good acting and great editing by Archie Marshek.

As much as I enjoyed “WHISPERING SMITH”, there are some aspects of it that I found unappealing. One of them proved to be actor Frank Faylen’s portrayal of henchman Whitey DuSang. I realize that Faylen was a first-rate actor. I have seen him in other productions. But . . . I found his portrayal of DuSang rather one-dimensional. Faylen spent most of the film hovering around Donald Crisp with his arms folded and staring at people with squinting eyes. If this was his way of looking intimidating, I did not buy it. I do know whether to blame Faylen, the director Fenton, screenwriters Frank Butler and Karl Kamb or Frank Spearman’s portrayal of the character in his novel. Another major problem I had with “WHISPERING SMITH” proved to be Mary Kay Dodson’s costume designs for the female characters. Exactly what was this film’s setting? Some of Dodson’s costumes seemed to indicate the 1880s. And some of her costumes – especially for Brenda Marshall – seemed to indicate the 1890s. Nor did it help that the women’s hairstyles seemed to reflect the late 1940s.

Despite my quibbles with Frank Faylen and Mary Kay Dodson’s costume designs, I enjoyed “WHISPERING SMITH” very much. Not only does it happen to be one of my favorite films starring Alan Ladd, I actually like it more than his more famous film, “SHANE”. I am certain that many would find this sacrilegious. However, thanks to Leslie Fenton’s direction, a screenplay that conveyed a complex love triangle and excellent performances from a cast led by Ladd, Robert Preston and Brenda Marshall; I cannot help how I feel.

“WUTHERING HEIGHTS” (1939) Review

“WUTHERING HEIGHTS” (1939) Review

Considering the popularity of the Brontë sisters, it is not surprising that there have been considerable movie, stage and television adaptations of their novels. I discovered there have been at least fifteen (15) adaptations of Emily Brontë’s 1847 novel, “Wuthering Heights”. 

I might as well be frank . . . I am not a major fan of the novel. I never have been. I do not dislike it, but I have always preferred the famous novels of the author’s two sisters – namely “Jane Eyre” (1847) by Charlotte Brontë and Anne Brontë’s 1848 novel, “The Tenant of Wildfell Hall”. For some reason, “Wuthering Heights” depresses the hell out of me. I have nothing against works of fiction laced with tragedy. But the heavy barrage of emotional and physical abuse, revenge, and over-the-top passion has always seemed a bit too much for me. Due to my less-than-enthusiastic regard for Ms. Brontë’s novel, I have always been reluctant to watch any of the television or movie adaptations, with the exception of one – the 1939 movie produced by Samuel Goldwyn.

Directed by William Wyler, and starring Merle Oberon and Laurence Olivier; “WUTHERING HEIGHTS” told the story of the passionate and doomed love story between one Catherine Earnshaw, the daughter of a Yorkshire landowner and an orphaned Gypsy boy named Heathcliff. The story opens with Mr. Earnshaw introducing Heathcliff to his family – Cathy and her brother, Hindley – at Wuthering Heights. While Cathy immediately befriends Heathcliff, Hindley becomes jealous of his father and sister’s high regard of the newcomer. Heathcliff’s pleasant life with the Earnshaw family ends when Mr. Earnshaw dies and a resentful Hindley forces him to become one of the family’s servants.

Despite Heathcliff’s new status within the Earnshaw family, his close relationship with Cathy remains close. Some eight to ten years later, the now adult pair have fallen in love and are meeting secretly on Penniston’s Crag. One night, Cathy and Heathcliff are out when they discover the Earnshaws’ neighbors, the Lintons, giving a party at the Grange. After climbing the garden wall, Cathy is attacked by a dog. The Lintons take Cathy in to care for her and Heathcliff is ordered to leave the Grange. Cathy becomes close with Edgar Linton and entranced by his wealth and glamour, while Edgar falls in love with her. When Edgar decides to propose marriage to Cathy, his action leads to a major fallout between Cathy and Heathcliff, the latter’s departure for United States, his return, jealousy, obsession and in the end, tragedy.

As far as I know, the 1939 film eliminated the second half of Brontë’s novel that centered on the generation featuring Heathcliff and Cathy’s children. This elimination has led many fans of the novel to dismiss this version as a poor adaptation. Well, to each his own. I have never read Brontë’s novel. And this is probably why I have such difficulty in dismissing “WUTHERING HEIGHTS” as unworthy of the novel. The only way I can judge the movie is on its own merits. And quite frankly, I believe it is one of the better costume dramas to be released during Hollywood’s Studio Era.

Producer Samuel Goldwyn assigned his top director, William Wyler, to helm the movie. And Wyler did a superb job. Thanks to his direction, “WUTHERING HEIGHTS” turned out to be an atmospheric and well paced movie filled with superb performances by the cast. Wyler utilized the talents of cinematographer Gregg Toland, along with art designers James Basevi and Alexander Toluboff to re-create the novel’s setting – the brooding Yorkshire moors with exquisite details.

The movie’s most controversial aspect turned out to be Charles MacArthur and Ben Hecht’s screenplay. Many present-day critics believe that the two screenwriters took the bite out of Brontë’s novel by romanticizing Heathcliff and Cathy’s relationship. Literary critic John Sutherland accused Wyler, Hecht and MacArthur of portraying Cathy as a more passive character, willing to accept Heathcliff’s abuse. Personally, I cannot help but wonder how he came to this conclusion. My recent viewing of “WUTHERING HEIGHTS” recalls a capricious and manipulative Cathy unable to hold back her scorn of Heathcliff in the face of the Lintons’ wealth and glamour; and a Cathy more than determined to prevent Heathcliff and Isabella Linton’s marriage. Not once do I recall a passive Cathy willing to accept abuse from Heathcliff.

Other critics of the movie have also accused Wyler and the two screenwriters of robbing Heathcliff the opportunity to seek revenge against Cathy and the Linton family by deleting the second half of the novel. These same critics seemed to have forgotten that a good deal of the movie’s second half focused not only on Heathcliff’s return to England, but also his efforts to get revenge on both the Earnshaw and Linton families. He did this by acquiring Wuthering Heights from an increasingly dissolute Hindley Earnshaw and more importantly, seeking Isabella Linton’s hand for marriage. The latter finally reached its mark as far as Cathy was concerned. The emotional damage from Heathcliff’s marriage to Isabella led to Cathy’s death and tragedy. The biggest criticism that emerged from “WUTHERING HEIGHTS” was Samuel Goldwyn’s decision to set the story in the mid-Victorian era, instead of the novel’s late 18th and early 19th centuries setting. It is believed that Goldwyn made this decision either because he preferred this period in costumes or he was simply trying to save a buck by using old Civil War era costumes. Personally, I could not care less. The novel’s setting was merely accelerated by five to six decades. And since “WUTHERING HEIGHTS” did not utilize any overt historical facts in its plot, I see no reason to get upset over the matter.

“WUTHERING HEIGHTS” went into production as a vehicle for actress Merle Oberon, who was a contract player at Goldwyn Studios. When Laurence Olivier, her co-star from 1938’s “THE DIVORCE OF LADY X”, was cast as Heathcliff, he campaigned for lover Vivian Leigh to replace Oberon as Catherine Earnshaw. Olivier’s efforts failed and Oberon kept her job. Many critics believe that Leigh would have done a better job. I refuse to accept or reject that belief. However, I was very impressed by Oberon’s performance. She did an excellent job in capturing Cathy’s capricious and shallow nature. Although Oberon had a few moments of hammy acting, she was not as guilty of this as two of her co-stars. I find it rather disappointing that she failed to earn an Academy Award nomination. Her scene with Geraldine Fitzgerald (in which Cathy tries to dampen Isabella’s interest in Heathcliff) and the famous soliloquy that ended with Cathy’s “I am Heathcliff” declaration should have earned her a nomination.

Laurence Olivier made his Hollywood debut in the role of the Gypsy orphan-turned-future owner of Wuthering Heights, Heathcliff. Olivier harbored a low opinion of Hollywood and screen acting in general. But Wyler’s exhausting style of directing and tutelage enabled Olivier to drop his penchant for stage theatrics and perform for the camera. Mind you, I do not believe Wyler was not completely successful with Olivier. The actor still managed to display hints of hammy acting in his performance. And he did not seem that successful in his portrayal of a Heathcliff in his late teens or early twenties, in compare to Oberon, who seemed successful in portraying Cathy in that same age group. Regardless, Olivier gave a first-rate performance, and managed to earn the first of his ten Academy Award nominations.

Another performer who earned an Academy Award nomination was Geraldine Fitzgerald, for her performance as Isabella Linton. I cannot deny that she deserved the nomination. Fitzgerald gave a memorable performance as the passionate, naive and outgoing Isabella, who found herself trapped in an emotionally abusive marriage to a man that harbored no love for her. However, I believe that like Olivier, she was guilty of a few moments of histronic acting. I could never accuse David Niven of such a thing. The actor gave a solid performance as the quietly loving, yet privileged Edgar Linton. Flora Robson was superb as the story’s narrator and Cathy Earnshaw’s maid, Ellen Dean. And both Niven and Robson proved to be the production’s backbone by being the only cast members that managed to refrain from any histronic acting altogether. I can also say the same about Hugh Williams’ portrayal of the embittered and dissolute Hindley Earnshaw. Donald Crisp, Leo G. Carroll, Cecil Kellaway and Miles Mander also gave fine support.

I realize that “WUTHERING HEIGHTS” will never be a favorite of the fans of Brontë’s novel. But as a movie fan, I cannot look down at this production. Thanks to William Wyler’s direction, Gregg Toland’s photography, solid adaptation by Ben Hecht and Charles MacArthur, and superb acting from a cast led by Merle Oberon and Laurence Olivier; it is quite easy to see why it is considered as one of the best examples of Old Hollywood during one of its best years – 1939. I guess I will always be a fan.

Top Ten Favorite Movies Set During the 1500s

Below is a list of my favorite movies set during the 1500s: 

 

TOP TEN FAVORITE MOVIES SET DURING THE 1500s

1. “The Sea Hawk” (1940) – Errol Flynn starred in this exciting, but loose adaptation of Rafael Sabatini’s 1915 novel about an Elizabethan privateer. Directed by Michael Curtiz, the movie starred Brenda Marshall and Henry Daniell.

2. “Shakespeare in Love” (1998) – John Madden directed this Best Picture winner about how an imaginary love affair between playwright William Shakespeare and a wealthy merchant’s daughter that led to his creation of “Romeo and Juliet”. Joseph Fiennes and Oscar winner Gwyneth Paltrow starred.

3. “Anne of the Thousand Days” (1969) – Richard Burton and Oscar nominee Geneviève Bujold starred in this historical drama about Anne Boleyn’s relationship with King Henry VIII of England. Charles Jarrott directed.

4. “A Man for All Seasons” (1966) – Oscar winner Fred Zinnemann directed this Best Picture winner, an adaptation of Robert Bolt’s play about the final years of Sir Thomas More, Henry VIII’s Lord Chancellor. Oscar winner Paul Scofield starred.

5. “Captain From Castile” (1947) – Tyrone Power starred in this adaptation of Samuel Shellabarger’s 1945 novel about a Spanish nobleman’s experiences during the Spanish Inquisition and Hernan Cortez’s conquest of the Aztecs in Mexico. Directed by Henry King, the movie co-starred Jean Peters and Cesar Romero.

6. “The Private Lives of Elizabeth and Essex” (1939) – Bette Davis, Errol Flynn and Olivia de Havilland starred in this adaptation of Maxwell Anderson’s 1930 Broadway play, “Elizabeth the Queen”, a fictionalized account of the relationship between Queen Elizabeth I and the 2nd Earl of Essex. Michael Curtiz directed.

7. “Elizabeth” (1998) – Golden Globe winner Cate Blanchett starred in this highly fictionalized account of the early years of Elizabeth I’s reign. Directed by Shekhar Kapur, the movie co-starred Geoffrey Rush, Joseph Fiennes and Richard Attenborough.

8. “Ever After” (1998) – Drew Barrymore starred in this loose adaptation of “Cinderella”. Directed by Andy Tennant, the movie co-starred Anjelica Houston and Dougray Scott.

9. “Mary, Queen of Scotland” (1971) – Vanessa Redgrave starred in this biopic about the life of Queen Mary of Scotland. Directed by Charles Jarrott, the movie co-starred Timothy Dalton, Nigel Davenport and Glenda Jackson.

10. “Anonymous” (2011) – Roland Emmerich directed this interesting and highly fictionalized biopic about Elizabethan courtier, Edward de Vere, 17th Earl of Oxford. The movie starred Rhys Ifans, Vanessa Redgrave, Joely Richardson and David Thewlis.

Top Ten Favorite Movies Set in the 1850s

Below is my current list of favorite movies set in the 1850s:

 

TOP TEN FAVORITE MOVIES SET IN THE 1850s

1. “Django Unchained” (2012) – Quentin Tarantino directed this Oscar winning tale about a newly freed slave who searches for his still enslaved wife with the help of a German-born bounty hunter in Mississippi. Jamie Foxx, Christoph Waltz, Leonardo DiCaprio and Samuel L. Jackson starred.

 

2. “The Charge of the Light Brigade” (1938) – Errol Flynn and Olivia De Havilland starred in this exciting adventure story set in both British India and the Crimean War. Michael Curtiz directed.

 

3. “Race to Freedom: The Underground Railroad” (1994) – Courtney B. Vance and Janet Bailey starred in this television drama about the adventures of four slaves who escape from a North Carolina plantation, while being tracked by a pair of slave catchers. Don McBrearty directed.

 

4. “Skin Game” (1971) – James Garner and Lou Gossett Jr. starred in this dark comedy about a pair of con artists who clean up in a slave selling scheme in Missouri and Kansas, before their scam finally catches up with them. Paul Bogart directed.

 

5. “Seven Brides For Seven Brothers” (1954) – Stanley Donen directed this famous 1954 musical about six backwoodsmen brothers When a backwoodsman in the Oregon Territory, who decides to marry after their oldest brother brings home a wife. Jane Powell, Howard Keel and Russ Tambyln starred.

 

6. “The First Great Train Robbery” (1979) – Michael Crighton wrote and directed this adaptation of his novel about three Victorian criminals who plot to rob a shipment of gold for British troops serving during the Crimean War, from a moving train. Sean Connery, Donald Sutherland and Lesley Anne Down starred.

 

7. “Wuthering Heights” (1939) – William Wyler directed this superb adaptation of Emily Brontë’s 1847 novel. Merle Oberon, Laurence Olivier and David Niven starred.

 

8. “Westward the Women” (1951) – William Wellman directed this excellent Western-adventure about a trail guide hired by a Californian rancher to escort a wagon train of women heading west to marry men who have settled in the rancher’s valley. Robert Taylor, Denise Darcel and John McIntire starred.

 

9. “Mountains of the Moon” (1990) Patrick Bergin and Iain Glen starred in this historical account of Victorian explorers Richard Burton and John Hanning Speke’s expedition to find the source of the Nile River on behalf of the British Empire. Bob Rafelson directed.

 

10. “Jezebel” (1938) – William Wyler directed Oscar winners Bette Davis and Fay Bainter in this adaptation of Owen Davis Sr.’s 1933 play about a headstrong Southern woman, whose actions cost her the man she loves. Henry Fonda and George Brent co-starred.