2016 Cannes Marathon: Friendly Persuasion

(Palme d’Or Winner at the 1957 Cannes Film Festival)

Based on the novel by Jessamyn West, Friendly Persuasion is the story of a pacifist who tries to shield his family from the horrors of the American Civil War while dealing with changing times. Directed by William Wyler and screenplay by Michael Wilson, the film is an exploration of a Quaker family in Indiana who cope with the growing changes and conflict in their world as a father deals with the idea of the Civil War being in front of his house. Starring Gary Cooper, Dorothy McGuire, Anthony Perkins, Richard Eyer, Robert Middleton, and Phyllis Love. Friendly Persuasion is a compelling yet heartfelt film from William Wyler.

Set in 1862 Southern Indiana, the film revolves around a Quaker family who deal with growing changes in their environment as well as the idea of the American Civil War coming in front of their home. It plays into this family who live by certain rules as they try to maintain a way of life but are tempted by these changes including the family patriarch but it is the mother that refuses to budge in as she wants to maintain some order. Michael Wilson’s script play into this conflict that a family is dealing with where the patriarch Jess Bridwell (Gary Cooper) and his wife/preacher Eliza (Dorothy McGuire) ponder about their own ideals and the fact that their ideals are now being seen as old-fashioned in the light of war. While the Bridwell family oppose the idea of violence, it is clear that their stance of pacifism is fallible as the sense of danger about the Confederates coming to their home and destroy everything does loom. Even as their eldest son Joshua (Anthony Perkins) gives in to the need to fight as a way to protect his family as Jess understands but Eliza isn’t.

William Wyler’s direction is very straightforward as it plays into a period of time in America where a group of people who have meetings in their own church as church service and do things very differently. Shot on location in a studio and an estate in the San Fernando Valley, the film does play into a look that is sort of a western but it’s really a melodrama set during the American Civil War. Wyler’s approach to wide and medium shots says a lot to the locations as well as the world the Bridwell family would encounter whether it’s their church or a county fair where many including Jess succumb to some for temptation in the film’s first half. Yet, it would be a moment where Eliza realizes that she shouldn’t be constrained by the rules of her faith as it relates to the little things in life as well as can’t ignore that something has to be done. While Jess isn’t willing to go out there and fight either, he also knows something still has to be done as he is reluctant about letting Joshua go out there.

There are moments in Wyler’s direction that are quite lively such as the scene where Jess and Joshua encounter a house full of women during a sale where it is played for laughs. There is also a moment where Jess decides to have a horse race with a friend to see who can get to church as it is quite thrilling but in a light-hearted fashion. By the time the film’s third act emerges where it is about what is coming and the family realizing that the Confederates will arrive. The drama is heightened as there is a sense of what might happen and what might not happen. Yet, the aftermath doesn’t say a lot about some of the fallible aspects of the Christian faith but the realization that pacifism doesn’t work all of the time. Overall, Wyler creates a somber yet touching film about a Quaker family dealing with the American Civil War.

Cinematographer Ellsworth Fredericks does excellent work with the film’s cinematography to capture some of the attention to detail in the colors for the exteriors as well as some of the interiors in how grey and colorless the Quakers church in comparison to the other church nearby which is more lively and colorful. Editors Richard Belcher, Edward A. Biery, and Robert Swink do nice work with the editing as it is largely straightforward with bits of style in the carriage race and a battle scene towards the end. Art director Ted Haworth and set decorator Joseph Kish do nice work with the look of the Birdwell home along with the churches and places they go to.

Costume designer Dorothy Jeakins does terrific work with the costumes as it play into the period clothes where many of the clothes that the Birdwell lack bits of any color with the exception of the dress the daughter Mattie wears at home. Sound editor Del Harris does superb work with the sound as it play into the activities in the farm as well as the chaos that play into the battle and fear that looms in Joshua. The film’s music by Dimitri Tiomkin is wonderful for its serene and playful orchestral score as it filled with a lot of string arrangements to play into its varied tone as well as some songs that are sung by some of characters that is co-written with Paul Francis Webster including a very dull title track sung by Pat Boone.

The film’s fantastic cast include some notable small roles from John Smith as Joshua’s friend Caleb, Walter Catlett as a music instrument salesman that Eliza doesn’t like, Theodore Newton as a Union Army leader Major Harvey who speaks at the Quaker church, and as a trio of sisters whom Joshua meet in Edna Skinner, Majorie Durant, and Frances Farwell. Marjorie Main is wonderful as the very funny Hudsepth as a widow that Jess would meet as he would deal with her unique company as it include her daughters. Peter Mark Richman is terrific as Gard Jordan as a Union officer who is a family friend that has feelings for the Birdwell daughter Mattie. Robert Middleton is superb as Gard’s father Sam as a friend of the family who likes to have carriage races with Jess while being someone who understands the Birdwell’s view but also make him aware of a world that is ever-changing.

Richard Eyer’s performance as the youngest child called Little Jess is just one of those child performances that is just annoying to watch due to the fact that he’s over-acting at times and it doesn’t feel natural at all. Phyllis Love is excellent as Mattie Birdwell as the middle child who is eager to participate in some of the activities as the other young people she knows as she is also in love with Gard. Anthony Perkins is fantastic as Joshua as the eldest child who isn’t sure about wanting to fight as he doesn’t like violence and knows it is wrong to kill but finds himself realizing that something has to be done. Dorothy McGuire is amazing as Eliza Birdwell as a Quaker preacher who is the embodiment of everything the Quaker represents yet she has a sensitivity and grace that is just so radiant to watch as she is one of the film’s major highlights. Finally, there’s Gary Cooper in a remarkable performance as Jess Birdwell as a Quaker farmer who is aware of changing times as he also tries to maintain his values along with the idea of what to do in the face of war knowing that turning the other cheek isn’t a good thing.

Friendly Persuasion is a marvelous film from William Wyler that features great performances from Gary Cooper and Dorothy McGuire. It’s a period melodrama that play into the idea of non-violence and some of its fallacies along with some of the constraints of the Quaker faith despite being a bit heavy-handed and sentimental at times. In the end, Friendly Persuasion is a brilliant film from William Wyler.

William Wyler Films: (Straight Shootin’) - (Anybody Here Seen Kelly?) - (The Shakedown) - (Hell’s Heroes) - (A House Divided (1931 film)) - (Tom Brown of Culver) - (Counsellor at Law) - (Glamour (1934 film)) - (The Good Fairy) - (The Gay Deception) - (These Three) - (Dodsworth) - (Come and Get It) - (Dead End (1937 film)) - (Jezebel) - (Wuthering Heights (1939 film)) - (The Westerner) - (The Letter) - (The Little Foxes) - (Mrs. Miniver) - (Memphis Belle: A Story of Flying Fortress) - The Best Years of Our Lives - (Thunderbolt!) - (The Heiress) - (Detective Story (1951 film)) - (Carrie (1952 film)) - Roman Holiday - (The Desperate Hours) - (The Big Country) - Ben-Hur - (The Children’s Hour) - (The Collector (1965 film)) - (How to Steal a Million) - (Funny Girl) - (The Liberation of L.B. Jones)

© thevoid99 2016

High Noon

Directed by Fred Zinneman and screenplay by Carl Foreman from a story by John W. Cunnigham, High Noon is the story about a retired marshal who finds himself having to take a stand against a group of vengeful criminals in order to save his town. The film plays into a man reluctantly taking part in a stand against a villain and his gang as it’s told in real time. Starring Gary Cooper, Grace Kelly, Ian MacDonald, Lloyd Bridges, Katy Jurado, Lee Van Cleef, and Robert J. Wilke. High Noon is a gripping yet mesmerizing film from Fred Zinneman.

The revolves around the release of a criminal named Frank Miller (Ian MacDonald) who is about to arrive at the town of Hadleyville in order to get revenge on the man that put him to prison in a marshal named William Kane (Gary Cooper). Once Kane hears the news on his wedding day and that Miller will arrive town at noon, trouble brews as Kane is about to retire and live the quiet life with his bride Amy (Grace Kelly). Kane reluctantly decides to stay to face Miller and his gang as he suddenly realizes he’s all alone with no one willing to take a stand with him. Even Amy reluctantly decides to leave Kane to take the train out of town along with a former lover of Kane and Miller named Helen Ramirez (Katy Jurado) who is currently with Kane’s deputy Harvey Pell (Lloyd Bridges) who also decides not to help out Kane. Once noon comes in, it all comes down to this showdown between Kane and Miller with his gang.

What makes this film so engrossing isn’t just the fact that it’s told in real time but the way time is used to create this sense of tension and dread about the return of a notorious criminal who had brought chaos to this small town until a man named Kane brought law and order back to the town. Miller’s return causes worry as they’re all afraid of him and his gang forcing Kane to do everything by himself. Carl Foreman’s screenplay definitely plays to that sense of tension and dread as time is a real drive to the story. A lot of it features Kane having to go back to town and gather whatever posse he can get only to be turned down as many of the locals have no faith in the aging Kane despite what he’s done for the town. Still, there’s those who feel like Miller’s return will help things as Kane finds his back against the wall.

The script also plays into the people around Kane such as Amy and Helen as both of them each offer weight to the story. Amy is a Quaker who is worried about being a widow and doesn’t want to see Kane killed but also doesn’t want to deal with the sense of violence as she had horrific encounters with violence in the past. Helen is a woman was once a lover of Kane and Miller in the past as she had just made a new life for herself but Miller’s return forces her to flee in order to not just see Kane killed but also avoid Miller. Frank Miller doesn’t appear in the story until the moment the train arrives exactly at noon but still carries a presence that is disconcerting as he brings fear to this small town as the locals are unsure whether to take a stand against him or just let him and his posse take over.

Fred Zinneman’s direction is truly engrossing for the way he presents the film. Notably in the way he maintains this sense of tension in the film as time slows down where the pacing has this unsettling tone over what is coming. Zinneman uses a lot of close-ups and medium shots to play out the tension while always finding a way to put the clock in the frame to emphasize that time is a key proponent in the story. Zinneman also creates the sense of drama to help drive Kane’s decision of whether to face off against Miller or to run with Amy and hide from him. Yet, Kane is not a coward but he is aware of how dangerous Miller and his gang is.

Zinneman also employs an intimacy in some of the drama as well as scenes of the locals talking about Kane and Miller to help play into that sense of time as they all await for the showdown. It does add to that sense of dread where everyone is waiting for the train arrive including Miller’s gang as they wait at the station. Once the climatic showdown is coming, the suspense definitely amps to see what will happen and how will Kane go face to face against Miller and his gang. Overall, Zinneman creates a very intense and riveting film about a man taking a stand against a chaotic criminal.

Cinematographer Floyd Crosby does brilliant work with the film‘s gorgeous black-and-white photography in the use of shadows against the sun while creating low-key lights for some of the film‘s interiors. Editors Elmo Williams and Harry W. Gerstad do fantastic work with the editing as it plays to the sense of suspense and dread along with a few rhythmic cuts to play out some of the dramatic reactions and fights. Production designer Rudolph Sternad, along with set decorator Murray Waite and art director Ben Hayne, does excellent work with the set pieces from the look of the town to the hotel that Helen stays in.

The sound work of John Speak is superb for the atmosphere is created in the saloons as well as playing up to the suspense with the sound of clocks and train horns. The film’s music by Dimitri Tiomkin is amazing for its low-key yet somber score that is a mixture of country-western and orchestral music while using some orchestral music to play up the suspense and drama while the film’s title song co-written with lyricist Ned Washington and sung by Tex Ritter is a wonderful piece that helps tell the story.

The casting by Jack Murton is phenomenal for the ensemble that is created as it features some notable appearances from Harry Morgan as a friend of Kane who refuses to help out, Eve McVeagh as that friend’s wife who reluctantly lies to Kane, Otto Kruger as the judge who tells Kane to leave town, Lon Chaney as Kane’s old mentor who also tells Kane to leave, Morgan Farley as the town’s local minister and as Miller’s gang, there’s Robert J. Wilke, Sheb Wooley, and Lee Van Cleef as they bring a unique presence to the film. Ian MacDonald is terrific as the film’s antagonist Frank Miller as he appears late in the film but brings a great presence in the way he arrives to the film.

Lloyd Bridges is excellent as Kane’s successor who feels slighted by Kane as he abandons his post while trying to get him to flee. Katy Jurado is amazing as Helen Ramirez as a former lover of Kane and Miller as she is aware of the danger that is coming as she tries to get Kane to flee town as well. Grace Kelly is radiant as Kane’s new bride Amy as a woman who urges her husband to flee while dealing with the possibilities of what would happen as she would play a key role in the showdown. Finally, there’s Gary Cooper in an outstanding performance as William Kane as an aging marshal who is forced to face the man he put in prison while realizing how alone he is as it’s a performance that is truly engaging in the way Cooper maintains a sense of humility and determination to a man wanting to do what is right for himself and his town.

High Noon is a tremendous film from Fred Zinneman that features a brilliant performance from Gary Cooper. Along with noteworthy supporting performances from Grace Kelly, Katy Jurado, and Lloyd Bridges, it’s a film that is truly one of the defining films of the western genre. Particularly in the way it builds tension and suspense in real time as it doesn’t falter in its pacing while maintaining a sense of excitement. In the end, High Noon is a magnificent film from Fred Zinneman.

Fred Zinneman Films: (Redes) - (That Mothers Might Live) - (Stuffie) - (Forbidden Passage) - (Kid Glove Killer) - (Eyes in the Night) - (The Seventh Cross) - (My Brother Talks to Horses) - (The Search) - (Act of Violence) - (The Men (1950 film)) - (Benjy) - (Teresa) - From Here to Eternity - (Oklahoma!) - (A Hatful of Rain) - (The Nun’s Story) - (The Sundowners) - (Behold a Pale Horse) - (A Man For All Seasons) - (The Day of the Jackal) - (Julia) - (Five Days One Summer)

© thevoid99 2013