“CAMILLE” (1936) Review

“CAMILLE” (1936) Review

I am about to confess to something many might regard as sacrilegious. I have never regarded Greta Garbo as one of my favorite actresses from the Golden Age of Hollywood. I had nothing against her . . . personally. But I realized that I could barely recall any of her movies that were personal favorites of mine. Because of this, I was very reluctant to do a re-watch of one of Garbo’s most famous films, “CAMILLE”.

Produced by Irving Thalberg and directed by George Cukor, “CAMILLE” is based upon the 1848 novel and 1852 play “La Dame aux Camélias” (“The Lady with the Camellias”) by Alexandre Dumas, fils. The movie told the story of Marguerite Gautier, a woman of low-class birth who rose to become one of Paris’ top courtesans. Debt-ridden from helping friends and suffering from tuberculosis, Marguerite hopes to attract the attention of an aristocrat named Baron de Varville as her next “client” at the opera. However, just as she manages to attract the Baron’s attention, Marguerite meets a young member of the bourgeois gentry named Armand Duval and instant attraction flares up between them. The attraction eventually develops into love. But external influences – including Marguerite’s debts – threatens their potential for happiness.

I have not seen “CAMILLE” in a long time. A long time. There is a good chance I have not seen it since I was in my early twenties. But something . . . I have no idea what . . . led me to watch this film after so many years. In the end, the only regret that I managed to feel was that I had ignored this movie for so long.

Did I have any problems with “CAMILLE”? Perhaps a few. I noticed that the movie’s narrative began in 1847 and ended roughly a year later. I think. But considering the story’s setting, I found it surprising that the narrative never touched upon the political upheavals that swept throughout Europe between early 1848 and early 1849. In France, the upheaval was known as the French Revolution of 1848. During this event, the French king Louis Philippe I was overthrown in February 1848. Four months later, many Parisian workers had unsuccessfully risen in insurrection against the conservative Second Republic government. I realize that “CAMILLE” is not a political movie. But considering the film’s setting and the fact that one character had plans for a diplomatic career (Armand Duval) and another was a wealthy aristocrat (Baron de Varville), I found odd that the political upheaval was never touched upon.

I also had mixed feelings about the costumes created by legendary Hollywood designer, Adrian. I realize that the man had a reputation for creating some of Hollywood’s most memorable and famous costumes. But . . . I do not know. Oh, yes I do. I think Adrian should have stuck to modern day costumes. His period costumes were not bad. Some of them have actually impressed me. A good example would be this particular costume from “CAMILLE” – namely Marguerite’s dark velvet riding habit:

I also admired how Adrian managed to re-capture the fashion for men during the 1840s:

On the other hands, I had problems with gowns the ones worn by Greta Garbo in the images below:

 

I was inclined to complain about the sequins featured in the costumes, but I discovered that they had been worn as part of fashion for thousands of years – including the 19th century. But I have other problems with the above costumes. One, they looked as if they came from some cheap costume warehouse. And two, Garbo looked as if she was about to be consumed by the voluminous amount of material used to create those gowns. Or could it be that Garbo lacked the figure for the fashions of the mid 19th-century? No . . . I do not believe that is a good excuse. I am certain that Western women of the 1840s came in different shapes and sizes as they do today. It is possible that Adrian had simply failed to design Garbo’s costumes in a way that would fit her perfectly. As a high-priced courtesan, Marguerite Gautier had the funds to purchase a wardrobe filled with clothes tailored to fit her. I do not think that Adrian took the time to fit Garbo’s costumes. Or perhaps she did not give him the time.

Otherwise, I cannot think of any other complaints about “CAMILLE”. If I must be brutally honest, I think it is one of the best motion picture love stories I have ever seen, hands down. Ever. I was surprised that Alexandre Dumas fils, the son of the man who had written classics such as “The Three Musketeers” and “The Count of Monte Cristo”, had written “La Dame aux Camélias” when he was roughly 23 years old. And screenwriters James Hilton, Zoë Akins and Frances Marion did a superb job in adapting Dumas’ story.

“CAMILLE” could have easily developed into one of those sappy love stories that in which only external forces stood in the lovers’ way. And yes, Dumas’ tale featured those “forces” that stood in the way of Marguerite and Armand’s relationship – Baron Varville, Marguerite’s bank account, her friends and Armand’s father. But there were other forces in play. Namely, Marguerite and Armand. Between her passive aggressive personality, her penchant for evading the truth and her inability to handle her finances; Marguerite had put herself into a situation that made it nearly impossible to have a genuine romance with Armand, let alone anyone. And poor Armand. I could say that he was completely faultless in this romance. Yes, he was naive. Armand was also hot-tempered, rash and a bit too stubborn and proud for his own good. Considering the state of her health, I do not believe Marguerite’s romance with Armand was destined to last very long. However, I feel that it were not for their personal flaws, the pair could have enjoyed more time together than they actually had.

Many still regard Greta Garbo’s performance as Marguerite Gautier as her finest performance. As I had hinted earlier in this review, I have only seen less than a handful of Garbo’s movies. But I cannot deny that she gave a brilliant performance as the cynical, yet warm-hearted courtesan. Although Garbo was a healthy looking woman most of her life, I do admire how she utilized body language and facial expressions to convey Marguerite’s questionable health and languid lifestyle. I have always suspected that Robert Taylor was one of the underrated actors in Hollywood history. He had been in Hollywood for two years by the time he shot “CAMILLE”. Many critics tend to focus on Garbo’s performance when discussing the movie. As I had pointed out, she gave a superb performance. But so did Taylor, as Armand. He did an excellent job in conveying Armand’s character from a very naive young man to someone who is a bit more cynical and mature. And yet, Taylor made sure to retain Armand’s temper and stubbornness.

Another excellent performance came from Henry Daniell, who portrayed Marguerite’s “client”, Baron Varville. Daniell not only skillfully conveyed Varville’s cool and arrogant nature, but also the character’s slight infatuation with Marguerite, but also the latter’s pain in facing the reality of Marguerite’s true feelings for him. Laura Hope Crewes, famous for her role in the 1939 Best Picture winner, “GONE WITH THE WIND”, gave a very entertaining performance as one of Marguerite’s closest friends, a veteran courtesan named Prudence Duvernoy. It is a shame that Crewes never earned an Oscar nomination for her performance. Her Prudence is a skillful mixture of friendly warmth and a mercenary nature. “CAMILLE” also featured first-rate performances from the likes of Lionel Barrymore, Rex O’Malley, Leonore Ulric, Jessie Ralph and Elizabeth Allan.

I was astounded to learn that “CAMILLE” had earned only one Academy Award nomination – Greta Garbo for Best Actress. And she lost to Luise Rainer’s performance in “THE GREAT ZIEGFELD” . . . much to the surprise of the Hollywood community. Hell, I am not only shocked that “THE GREAT ZIEGFELD” had also won Best Picture, I am flabbergasted that “CAMILLE” did not even earn a Best Picture nomination, along with nominations for the leading actor, a screenplay nomination or a Best Direction nod for George Cukor. How did this travesty happen? A superb movie like “CAMILLE”?

The discovery of the limited amount of acclaim that “CAMILLE” had earned back in late 1936/1937, this only convinces me how irrelevant that the Academy Awards truly are. Thankfully, movie fans still have the movie to enjoy for years to come, thanks to George Cukor’s superb direction; a great screenplay by the likes of James Hilton, Zoë Akins and the legendary Frances Marion; and a superb cast led by the iconic Greta Garbo and the excellent Robert Taylor.

 

 

Favorite Films Set in the 1800s

Below is a list of my favorite movies set during the decade between 1800 and 1809: 

FAVORITE FILMS SET IN THE 1800s

1. “Emma” (1996) – Gwyneth Paltrow starred in this very entertaining adaptation of Jane Austen’s 1815 novel about an upper-class Englishwoman’s attempts to play matchmaker for her friends and neighbors. Co-starring Jeremy Northam, the movie was adapted and directed by Douglas McGrath.

2. “Master and Commander: The Far Side of the World” (2003) – Russell Crowe and Paul Bettany starred in this Oscar-nominated adaptation of several of Patrick O’Brian’s Aubrey–Maturin series. The movie was co-written and directed by Peter Weir.

3. ‘Buccaneer’s Girl” (1950) – Yvonne De Carlo starred in this entertaining romantic adventure about the relationship between a Boston singer and an elite sea trader/pirate in old New Orleans. Directed by Frederick de Cordova, the movie co-starred Philip Friend and Robert Douglas.

4. “Captain Horatio Hornblower” (1951) – Gregory Peck and Virginia Mayo starred in this adaptation of three of C. S. Forester’s Horatio Hornblower novels. The movie was directed by Raoul Walsh.

5. “Mansfield Park” (1999) – Patricia Rozema adapted and directed this adaptation of Jane Austen’s 1814 novel about an impoverished young woman living with her wealthy relations. Frances O’Connor and Jonny Lee Miller starred.

6. “The Duellists” (1977) – Ridley Scott directed this adaptation of Joseph Conrad’s 1908 short story, “The Duel” about a small feud between two Napoleonic officers that evolves into a decades-long series of duels. Keith Carradine and Harvey Keitel starred.

7. “Lloyd’s of London” (1936) – Tyrone Power was featured in his first starring role as a young man who worked for the famous insurance corporation, Lloyd’s of London, during the Napoleonic Wars. Directed by Henry King, Madeleine Carroll and George Sanders co-starred.

8. “Carry On Jack” (1963) – Bernard Cribbins, Kenneth Williams and Juliet Mills starred in this eighth entry in the “Carry On” comedy series, which is a spoof of the high-seas adventure genre. Gerald Thomas directed.

 

 

Top Ten Favorite Movies Set in the 1840s

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Below is my current list of favorite movies set in the 1840s: 

TOP TEN FAVORITE MOVIES SET IN THE 1840s

1 - The Heiress

1. “The Heiress” (1949) – William Wyler directed this superb adaptation of Ruth and Augustus Goetz’s 1947 play, which was an adaptation of Henry James’ 1880 novel, “Washington Square”. The movie starred Oscar winner Olivia De Havilland, Montgomery Clift, Ralph Richardson and Miriam Hopkins.

2 - All This and Heaven Too

2. “All This and Heaven Too” (1940) – Anatole Litvak co-produced and directed this excellent adaptation of Rachel Fields’ 1938 novel. The movie starred Bette Davis and Charles Boyer.

3 - Half-Slave Half-Free Solomon Northup Odyssey

3. “Half-Slave, Half-Free: The Solomon Northup Odyssey” (1984) – Avery Brooks starred in this emotional television adaptation of Solomon Northups’ 1853 memoirs, “12 Years a Slave”. Directed by Gordon Parks, the movie co-starred Rhetta Greene, John Saxon, Lee Bryant, Art Evans and Mason Adams.

5 - The Mark of Zorro

4. “The Mark of Zorro” (1940) – Rouben Mamoulian directed this superb adaptation of Johnston McCulley’s 1919 story called “The Curse of Capistrano”. The movie starred Tyrone Power, Linda Darnell and Basil Rathbone.

4 - The Liberators

5. “The Liberators” (1987) – Robert Carradine and Larry B. Scott starred in this Disney adventure film about Underground Railroad conductor John Fairfield and his fugitive slave friend, Bill; who escort Kentucky slaves north of the Mason-Dixon Line to freedom. Kenneth Johnson starred.

6 - The Adventures of Bullwhip Griffin

6. “The Adventures of Bullwhip Griffin” (1967) – Roddy McDowall and Suzanne Pleshette starred in this Disney adaptation of Sid Fleischman’s 1963 children’s novel called “By the Great Horn Spoon!”. James Neilson directed.

7 - Camille

7. “Camille” (1936) – George Cukor directed this lavish adaptation of Alexandre Dumas fils’ 1848 novel and 1852 play called “La Dame aux Camélias”. The movie starred Greta Garbo and Robert Taylor.

8 - Cousin Bette

8. “Cousin Bette” (1998) – Jessica Lange starred in this loose adaptation of Honoré de Balzac’s 1846 novel. Although unpopular with critics and moviegoers, it is a favorite of mine. Directed by Des McAnuff, the movie co-starred Hugh Laurie, Elisabeth Shue and Kelly MacDonald.

9 - Jane Eyre

9. “Jane Eyre” (2011) – Mia Wasikowska and Michael Fassbender starred in the 2011 movie adaptation of Charlotte Brontë’s 1847 novel. The movie was directed by Cary Fukunaga.

10 - 12 Years a Slave

10. “12 Years a Slave” (2013) – British director Steve McQueen helmed this Oscar winning second adaptation of Solomon Northup’s 1853 memoirs about the latter’s experiences as a slave in the Deep South. The movie starred Chiwetel Ejiofor, Oscar winner Lupita Nyong’o and Michael Fassbender.

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.

“BUCCANEER’S GIRL” (1950) Review

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“BUCCANEER’S GIRL” (1950) Review

I have always been a sucker for old films – especially those that are costumed flicks. Between my late teens and late twenties, I had developed a habit of watching old movies on late night television. One of those films was the 1950 comedy swashbuckler, “BUCCANEER’S GIRL”.

Directed by Frederick De Cordova, the movie began with a ship commanded by a pirate named “Frederic Baptiste” attacking and ransacking a trader ship bound for New Orleans during the first decade of the 19th century. One of Baptiste’s victims is a Boston-born young woman named Deborah “Debbie” McCoy who also happens to be a stowaway. Although Baptiste’s first mate had ordered two crewmen to place Debbie in one of the long boats with the passengers, they decide to keep her aboard the pirate’s ship for . . . entertainment. However, Baptiste intercepts them and decides to keep Debbie on board before delivering her to Tortuga.

Although Debbie gets to know Baptiste’s crew, she stows away aboard the pirate’s long boat, when his ship arrives in New Orleans. Not long after her arrival in the Crescent City, Debbie is taken in by one Mademoiselle Brizar, the proprietor of a “School for Genteel Young Ladies”, who also serves as an agent for young women like Debbie with musical talent. After a few months of training, Debbie performs at a local tavern, where she learns that the pirate “Baptiste” is actually a local sea captain and trader named Captain Robert Kingston who has been using his piratical activities to plunder the ships of another wealthy shipping magnate named Alexander Narbonne, who had earlier used the real Baptiste (killed by Kingston) to get rid of his business competition. Debbie also discovers that Captain Kingston is engaged to the Governor’s niece, Mademoiselle Arlene Villon, who is also coveted by Narbonne.

One has to be blind, deaf and dumb not to realize that “BUCCANEER’S GIRL” is basically a B-movie. The plot, written by Samuel R. Golding, Joseph Hoffman, Joe May and Harold Shumate; does not exactly possess any real depth. In fact, I am rather surprised that so many writers had worked on screenplay for this movie. Nevertheless, “BUCCANEER’S GIRL” proved to be a very entertaining movie.

Did the movie have any faults? Well, since it is a B-movie, I would not describe the sets and production values as particularly top notch. And although I found Yvonne Wood’s costume designs very colorful and attractive, I cannot help but wonder if they were accurate depictions of fashion from the first decade of the 19th century.

However, I do have one major complaint about the film. But I do not really consider that to be a fault. I will admit that I found the movie’s ending rather vague and slightly confusing. The majority of the film centered on the conflict between Captain Robert Kingston aka the fake Baptiste and his business/romantic rival, Alexander Narbonne. Both men sought the hand of the Governor’s niece, Arlene Villon. Kingston used the “Captain Baptiste” persona to go after Narbonne’s ships in revenge for the latter using the real Baptiste to destroy shipping rivals. Well, Kingston eventually achieved his goal when he destroyed the last three ships in Narbonne’s fleet during a two-to-three minute montage in the movie’s second half. Unfortunately, the movie’s last act focused on Kingston being arrested for piracy and a scheme to spring him out of jail. And I found this last sequence rather anti-climatic and a little disappointing, if I must be frank.

But despite the film’s ending, I must admit that I enjoyed “BUCCANEER’S GIRL”. Very much. It is a very entertaining film, thanks to a rather clever screenplay. The 1950 film is one of the very few swashbucklers that starred a woman. And get this, the movie’s main protagonist – one Debbie McCoy – is not a pirate or a seaman of any kind. And . . . she is certainly no swordsman. Instead, Debbie McCoy is that rare protagonist in a swashbuckler film, whose possess a talent for singing, witty repartees, stowing aboard ships and clever thinking. Universal Studios was wise to cast Yvonne De Carlo in this role. Not only did the actress gave an excellent and entertaining performance, she also seemed to be up to the task for her musical numbers. I did notice that of the three songs she performed, only one of them were lip synced by a sorprano.

Since the movie’s protagonist turned out to be a singer from Boston, naturally she required a leading man who is more of a swashbuckling type. In another act of clever acting, the screenwriters created Captain Robert Kingston, a respectable sea captain who doubled as the pirate “Baptiste”. Due to her penchant for stowing away, Debbie not only becomes familiar with Kingston and his crew, she also becomes one of the few people who knows about his double act. The filmmakers went out of their way to hire Philip Friend, an actor with a credible screen presence, but one not as strong as the leading lady’s. The odd thing about “BUCCANEER’S GIRL” is that although the leading protagonist is a woman and entertainer, the movie’s narrative focused upon the conflict between the protagonist’s leading man and the film’s main villain.

The movie also featured very entertaining performances from Elsa Lancaster, who portrayed Debbie’s mentor Madame Brizar and Jay C. Flippen, who portrayed Kingston’s first mate, Jared Hawkens. Robert Douglas made an effective villain as shipping magnate Alexander Narbonne. Norman Lloyd, who eventually became well known to television audiences on NBC’s “ST. ELSEWHERE”, gave a sly performance as Narbonne’s slimy assistant, Patout. And Andrea King was sufficiently haughty as Kingston’s well born fiancée Arelene Villon. I was surprised to see Henry Daniell in this film as the local militia’s commander, Captain Duval. Five to ten years earlier, Daniell would have been cast as the main villain.

However, there is more to appreciate about “BUCCANEER’S GIRL”. It has a funny and very witty narrative, thanks to its four screenwriter. And although I found the historical accuracy of Yvonne Wood’s costumes a bit questionable, I cannot deny that I also found them colorful, as seen in the images below:

The movie also featured some mildly entertaining songs written by Walter Scharf and Jack Brooks. I especially enjoyed the last song performed in the film, “A Sailor Sails the Seven Seas”. Very jaunty. I was especially impressed by Russell Metty’s photography. It was unusually sharp and beautiful for B-movie. Metty put a lot of care into it.

In the end, “BUCCANEER’S GIRL” proved to be a surprisingly entertaining film. Yes, the ending struck me as slightly vague and anti-climatic. But everything else about the movie have so much to offer, including energetic direction from Frederick De Cordova, a clever narrative and excellent performances from a cast led by Yvonne De Carlo and Philip Friend. This is one film I have never grown tired of watching.

“JANE EYRE” (1943) Review

 

“JANE EYRE” (1943) Review

Many fans of Charlotte Brontë’s 1847 novel, “Jane Eyre”, are aware that numerous (probably over twenty) television and movie adaptations of it had been made over the past several decades. While perusing the Internet, I was surprised to discover that the opinion of the 1943 adaption seemed to be extremely divided. Fans either regard it as the best adaptation or the worst. There seemed to be no middle ground.

As many know, “JANE EYRE” told the story of young 19th century English orphan who is forced to live at the Yorkshire estate of her widowed aunt-by-marriage, Aunt Reed. After a recent altercation between niece and aunt, the latter sends Jane Eyre to be educated at an all-girls school operated by a tyrannical and religious zealot named Mr. Lowood. Jane spends eight years at the school as a student and two years as a teacher. She eventually leaves Lowood School after she is hired as a governess for Adèle Varens, the French-born ward of a mysterious landowner named Mr. Edward Rochester. Not long after her arrival at Thornfield Hall, the Rochester estate, Jane meets her enigmatic employer. It does not take long before Jane and Rochester’s relationship evolve from employee/employer to friends, before it eventually becomes romantic. However, a possible romantic rival for Jane and a secret in Thornfield’s attic prove to be major obstacles in the road to romance for the young governess and her employer.

So . . . how does “JANE EYRE” hold up after 71 to 72 years? Actually, I believe it holds up pretty well. I thought director Robert Stevenson and the screenplay he co-wrote with John Houseman, Aldous Huxley, and Henry Koster did a solid job in translating Brontë’s novel to the screen. Many critics and movie fans have noted that this adaptation seemed to have convey the novel’s Gothic atmosphere a lot stronger than other versions. I supposed one has cinematographer George Barnes, production designer William L. Pereira and set decorator Thomas Little to thank. However, I recently learned it was Orson Welles (who not only served as leading man, but also an uncredited producer) who had convinced Stevenson and his fellow co-producers William Goetz and Kenneth Macgowan to inject more Gothic visuals into the movie. I could not say that René Hubert’s costume designs contributed to the movie’s Gothic atmosphere. But I was impressed by how Hubert’s costumes reflected the movie’s early 1840s setting, as shown in the images below:

338848.1 Fontaine, Joan (Jane Eyre)_01

I certainly had no problems with how the movie handled Jane’s story through most of the film. From the opening scene in which the leading character found herself harassed by the Reed film to her disrupted wedding to Edward Rochester. I usually find it difficult to endure the Lowood School scenes in other adaptations of Brontë’s novels. But I cannot say the same about this adaptation. I really had no problem with it. It could be that I was so fascinated by the performances of Peggy Ann Garner, Elizabeth Taylor and Henry Daniell that I completely forgot that I was watching one of my least favorite sequences in the story. And of course, the best part of“JANE EYRE” remained the growing friendship and romance between the titled character and Rochester. This was especially apparent in two sequences – Rochester’s courtship of Blanche Ingram during his house party and Jane’s confession of her love for him.

Although I was impressed by how Stevenson and the film’s other screenwriters handled Brontë’s tale up to Jane and Rochester’s disastrous wedding ceremony, I could not say the same about the rest of the film. In fact, it suffered from the same narrative problem that plagued several other adaptations – a weak finale. First of all, this is the only adaptation in which Jane never meets the Rivers siblings – St. John, Diana and Mary. She does meet a Doctor Rivers, who first treated Jane when she was a Lowood student. Instead of seeking refuge with the trio, Jane returns to Gateshead Hall, the home of her dying Aunt Reed. Following her aunt’s death, Jane reunites with Rochester. That is it. And I hate to say this, but the entire sequence – between Jane’s departure from Thornfield Hall to her return – seemed very rushed and unsatisfying.

I also have another major problem with the movie – its Gothic elements. There were times when these elements served the mysterious aspects of the movie very well. However, a good deal of these “Gothic touches” struck me as heavy handed . . . to the point that they ended up annoying me. This was apparent in Jane’s first meeting with Rochester, with so much fog swirling around the pair that at times they seemed almost hidden. The worst aspect of these “Gothic touches” occurred in the scene in which Jane and Rochester confessed their love for one another. The moment the pair sealed their engagement with a kiss, a bolt of lightning came out of the sky and struck a nearby log. I mean . . . come on! Really?

A good number of critics and movie fans did not seem particularly impressed by Joan Fontaine’s portrayal of Jane Eyre. I never understood the complaints. I thought she did an excellent job. More importantly, her portrayal of the passionate, yet introverted Jane seemed spot on. What were these critics expecting? An over-the-top performance by Fontaine? Jane Eyre is not an overtly emotional character – at least as an adult. However, I am happy to note that Fontaine certainly had a strong screen chemistry with her leading man, Orson Welles. Many have stated that Welles pretty much dominated the movie. To me, that is like saying every actor who has portrayed Edward Rochester overshadowed the actresses who have portrayed Jane. Personally, I thought Welles’ enigmatic and quick-witted portrayal of Rochester complimented Fontaine’s more introspective performance rather well. I guess these fans and critics did not want balance . . . just two very theatrical performances.

The other performances in the movie struck me as first-rate. Agnes Moorehead, who was part of Welles’ Mercury Theater company before her arrival in Hollywood, portrayed Jane’s haughty Aunt Reed. And I must say that she did an excellent job in portraying the character with a not-too-shabby English accent. Henry Daniell was equally impressive as the tyrannical head of Jane’s school, Mr. Lowood. But I was really impressed by Margaret O’Brien, who did a remarkable job as Rochester’s French ward, Adèle Varens. I would not know an authentic French accent, if I was stuck in the middle of Paris. But I must say that O’Brien’s accent was just as good as the other young actresses who portrayed Adèle. And she gave such a charming performance . . . at the age of six.

But O’Brien was not the only child star who gave an excellent performance. Peggy Ann Garner was equally impressive as the young Jane Eyre, who had no qualms about butting heads with the haughty Reed family. Also in the film was a young Elizabeth Taylor, who gave a mesmerizing performance as Jane’s doomed young friend, Helen Burns. I was surprised to discover that Hillary Brooke, who portrayed Blanche Ingram, was an American actress. I thought she was very convincing as the charmingly bitchy and very English Blanche. The movie also featured solid performances from Sara Allgood, John Sutton, Edith Barrett and Barbara Everest.

So . . . do I feel that “JANE EYRE” is the best or worst adaptation of Charlotte Brontë’s novel? Honestly? I would say neither. Yes, there were times I could barely deal with the movie’s over-the-top Gothic atmosphere. And yes, I found the last quarter of the film both weak and rushed. But overall, I would say that it is a pretty good film. And I believe that it still holds up rather well after 71 to 72 years.

“ALL THIS AND HEAVEN TOO” (1940) Review

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“ALL THIS AND HEAVEN TOO” (1940) Review

Whenever one conjured the image of Warner Brothers Studio during the 1930s and 40s, hard-hitting crime dramas or social commentaries come to mind. I would certainly not view melodramas – costumed or otherwise – as part of the studio’s usual repertoire. Then in 1933, Hal Wallis became the studio’s new production chief and eventually allowed the studio to release more films with a wider variety. And when Bette Davis became “Queen of the Lot” in the mid-to-late 1930s, the release of melodramas by Warner Brothers became more common. 

One of the melodramas associated with Davis was “ALL THIS AND HEAVEN TOO”, the 1940 movie adaptation of Rachel Fields’ 1938 novel. Set in France and northeastern United States during the mid-to-late 1840s, the movie told the story of a newly hired French schoolteacher at an American school, who finds herself reliving her past experiences with a French aristocratic family to her new students gossiping over the scandal that had followed her across the Atlantic. The movie begins in 1848 United States. Mademoiselle Henriette Deluzy-Desportes has been hired as the new French instructor at a girls’ school. To her dismay, she discovers that her new students are aware of the scandal that drove her out of France. Instead of resigning from the school, she decides to tell her students about her experiences with the family of the Duc de Praslin and Duchesse de Praslin

The movie jumps back to 1846, during the last years of the Orleans monarchy, when Henriette arrives in France, following a five-year stint as a governess for an English family. After an interview with the Duc and Duchesse, Henriette is hired to act as governess for their three daughters and son. Although Henriette endears herself to the Duc and his four children, the Duchesse seemed to resent her presence. Due to an erratic temperament and an all compassing love for her husband, the Duchesse begins to suspect that Henriette is not only stealing the love of her children, but more importantly her husband. Despite her happy relationship with the de Praslin children, Henriette is forced to deal with the Duchesse’ increasingly hostile behavior, a growing awareness of the Duc’s feelings for her . . . and her own feelings for him. The tensions within the family culminates in the Duchesse’s brutal death, which leads to a great deal of legal problems for Henriette.

“ALL THIS AND HEAVEN TOO” proved to be a successful film, but not quite a major box office hit. I read somewhere that some at the Warner Brothers Studios blamed the movie’s elaborate production designs for overwhelming the other aspects of the movie. I do not know if I could agree with this assessment. Granted, I found some of Carl Jules Weyl’s art designs of 1840s France a bit grandiose – especially in scenes featuring the de Praslin household. But considering the high level of melodrama and characterization, I find this opinion a bit hard to accept. I also find it difficult to agree with this slightly negative opinion of the movie’s visual style. Personally, I rather enjoyed it. I thought Weyl and his staff did an excellent job in re-creating the movie’s period – 1846 to 1848 via production designs, set designs, Warren Low’s editing and especially Ernest Haller’s Oscar nominated cinematography. I also have to compliment Orry-Kelly’s costume designs. The Australian-born designer had also created the costumes for some of Bette Davis’ movie, including 1938’s “JEZEBEL” and 1939’s “JUAREZ”. The designer could have easily been sloppy and re-used the costumes from those particular movies. Instead, Orry-Kelly created costumes that more or less accurately reflected the fashions of the mid-to-late 1840s.

While reading another review of “ALL THIS AND HEAVEN TOO”, the writer complained that he/she found it difficult to believe that a forbidden romance between a French aristocrat and his governess led to the outbreak of the Revolution of 1848 and the fall of theJuly Monarchy in France. Apparently, the reviewer had failed to do any research or read Rachel Field’s novel. AFter all, the novel was based upon history, including Field’s family background. Henriette Deluzy-Desportes (or what was her real name) was one of Field’s ancestors. And from what I have read, the real scandal that surrounded the governess and the duke had a major impact on the 1848 revolution that broke out in France. But was the movie’s historical background completely accurate? I honestly do not know. I would have to read more on the 1848 Revolution in France and the life of the Duc de Praslin. If I have one complaint about the movie’s handling of this historical background, I do wish that Casey Robinson’s screenplay could have provided more hints about the upcoming political upheaval.

Overall, I really enjoyed “ALL THIS AND HEAVEN TOO”. It is rare to come across a first-rate costume melodrama that can keep me enthralled during its entire running time. And this movie managed to achieve this, thanks to not only Robinson’s screenplay, but also Anatole Litvak’s steady direction. This was especially apparent in the first two-thirds of the movie that chronicled Henriette’s troubles with her American students, her arrival in France and her working and personal relationships with the de Praslin family. The movie’s best segment centered around the months she spent in the de Praslin family’s employment. Once, Henriette is dismissed by the Duchesse de Praslin for imagined slights, the movie struggled to maintain its momentum. This last third of the film centered on Henriette’s attempts to retrieve a reference from the Duchesse, the latter’s violent death, the legal wranglings that surrounded the murder and the finale in the United States. And yet . . . this last third of the film dragged so much – especially the period in which Henriette was in prison – that it threatened to overshadow my enjoyment of the film. 

Aside from one particular performance, I have no problems with the movie’s cast. Bette Davis gave an engrossing and subtle performance as the movie’s lead character, Henriette Deluzy-Desportes. I will admit there were times I found the character a bit ideal for my liking – especially in the scenes featuring the governess and her charges. But the scenes featuring the growing love between Henriette and the Duc de Praslin and her conflicts with the Duchesse allowed Davis to superbly portray the governess more as a human being and less as a figure of feminine ideal. Charles Boyer was superb as the Duc de Praslin, a practical and loving man who found himself trapped in a marriage with a woman he no longer love. I feel it is to his credit that he could make the audience feel sympathetic toward a man who not only harbored adulterous feelings for another woman, but also murdered his wife. 

The movie also featured fine performances from a supporting cast that included Jeffrey Lynn as Henriette’s future husband, the Reverend Henry Field; Harry Davenport as the de Praslin groundskeeper Pierre; Montagu Love as the Duc de Praslin’s father-in-law, Marshal Horace François Bastien Sébastiani de la Porta; and Henry Daniell as Monsieur Broussais, the man charged with investigating the Duchesse’s murder. “ALL THIS AND HEAVEN TOO” also benefited from excellent performances from the child actors who portrayed Henriette’s charges. I was especially impressed by June Lockhart and Virginia Weidler, who portrayed the Duc and Duchesse’s two older offsprings. The only performance I had trouble with Barbara O’Neil’s portrayal of Frances, the Duchesse du Praslin. I realize the latter was supposed to be an emotional and possessive woman, whose selfishness left her family out in the cold. O’Neil was fine in those scenes in which she conveyed the Duchesse’s coldness and attempts at indifference toward Henriette. Otherwise, her shrill rants and emotional outbursts struck me as hammy. I am surprised that O’Neil was the only cast member to earn an Academy Award nomination for acting.

I cannot say that I agree with the old criticism of the production designs for “ALL THIS AND HEAVEN TOO”. I believe the movie does suffer from some flaws that include occasional hammy acting from Barbara O’Neil and the slow pacing that nearly bogged down the third act. But Anatole Litvak’s direction, along with a first-rate screenplay by Casey Robinson, excellent production designs, and superb performances from a cast led by Bette Davis and Charles Boyer have led me to regard “ALL THIS AND HEAVEN TOO” as an excellent example of a Hollywood costume melodrama at its best.