Magnificent Obsession (1954 film)

Based on the book by Lloyd C. Douglas, Magnificent Obsession is the story of a playboy who pretends to be a doctor to help a widow he had recently hurt. Directed by Douglas Sirk and screenplay by Robert Blees and Wells Root from screen story by Root, Sarah Y. Mason, Victor Heerman, and Finley Peter Dunne, the film is a melodramatic take on an unlikely relationship between a spoiled playboy and a troubled widow. Starring Rock Hudson, Jane Wyman, Barbara Rush, Agnes Moorehead, and Otto Kruger. Magnificent Obsession is an extraordinarily rich film from Douglas Sirk.

The film is a simple story about redemption in the form of a playboy whose boating accident led to the death of a renowned doctor and later cause trouble for the doctor’s widow. At the same time, it’s about this rich playboy wanting to make a change for himself and atone for all of the sins he created. Especially to this woman who lost so much as she becomes lost following her husband’s death. The film’s screenplay does show what kind of man Bob Merrick (Rock Hudson) is at the beginning as he is this careless playboy who likes to ride fast cars, drive fast boats, and do all sorts of things without a care in the world as he would use money to fix things. When he is injured in an accident and was unconscious, he was revived by a resuscitating machine that belonged to a doctor as he suddenly died. When Merrick learns about what happened and the disdain he had been treated by the people at the hospital, he becomes haunted by his actions as he tries to apologize to the widow Helen Phillips (Jane Wyman) only to cause more trouble.

The first act is about Merrick forcing to see himself for what he really is and the things he had squandered as he was once a gifted medical student who gave up his chance to become a doctor in favor of throwing away the inheritance he gained from his father. The second act is about Merrick trying to atone for his sins by pretending to be another man to the already blind Helen in the hopes that he can help her and not suffer as much. Still, he gains the suspicions of her stepdaughter Jane (Barbara Rush) and longtime nurse Nancy (Agnes Moorehead). Yet, Merrick is encouraged by Helen’s longtime friend Randolph (Otto Kruger) who would guide Merrick into the ideas of philanthropy that Helen’s husband was all about. Merrick, under an alias, would do whatever to help Helen and gain the trust of those he hurt yet things become complicated as it becomes clear that Merrick still needed to find his own path in life as it would eventually play into his journey for redemption.

Douglas Sirk’s direction is truly intoxicating in the way he creates this film that explores the world of a man obsess with trying to right the wrongs that he created but also present it with a high degree of style. Much of it involves some unique compositions in the medium shots and close-ups along with a few wide shots. Sirk isn’t afraid for creating this heightened sense of drama since there is a lot that goes on where many who are close to Helen and her husband have a huge distrust towards Merrick since he already has a notorious reputation. Sirk takes his time for Merrick and Phillips to develop into something much more as does the supporting characters as it would play into the drama. Particularly as Sirk would add more stakes to the drama for its third act once it becomes clear that, despite Merrick’s efforts to be there for Phillips, it wouldn’t be enough as she becomes burdened by her blindness. Sirk however, would find ways to create something that does play to the aesthetics of a melodrama but not be afraid to take a few risks and be unafraid to delve into schmaltz. Overall, Sirk crafts a very genuine and exhilarating film about a man trying to find redemption in helping a widow.

Cinematographer Russell Metty does amazing work with the film‘s rich and colorful Technicolor-based cinematography from the beauty of the locations in Lake Tahoe to some of the array of lighting schemes and sceneries created in some of its interior and nighttime exterior scenes. Editor Milton Carruth does nice work with the editing with a few aspects of style in its dissolves and fade-outs while maintaining something much straightforward through its transitions and rhythmic cuts. Art directors Bernard Herzbrun and Emrich Nicholson, with set decorators Russell A. Gausman and Ruby R. Levitt, do fantastic work with the set pieces from the look of the Swiss hotels and sets created during Helen‘s trip to the country for possible eye surgery to the look of the homes that the characters live in.

Costume designers Bill Thomas does excellent work with the design of the gowns and dresses many of the female characters wear as it plays to the film‘s evocative look. The sound work of Leslie I. Carey and Corson Jowett is terrific for the way the boat engine sounded early in the film to some of the more sparse moments when Helen is alone in her room. The film’s music by Frank Skinner is truly phenomenal for its lush and evocative orchestral score that swells with its soaring string arrangements to play into the melodrama as it also includes some choir arrangements that just adds more punch to the tone of the film.

The film’s marvelous cast includes some notable small roles from Richard H. Cutting as the Phillips’ associate physician Dr. Dodge, Sara Shane as Merrick’s girlfriend in the beginning of the film, Paul Cavanaugh as Merrick’s former mentor Dr. Giraud, and Gregg Palmer as Joyce’s fiance Tom who helps handle the Phillips family business. Barbara Rush is terrific as Helen’s stepdaughter Joyce who is aware of Merrick’s reputation and is suspicious of his helpful intentions only to realize how much he cares for Helen and wants to do right. Agnes Moorehead is wonderful as the Phillips longtime family nurse who is also suspicious of Merrick’s intentions while keeping an eye on Helen as well as being the close friend that she has. Otto Kruger is excellent as Randolf as this painter who is a longtime friend of the Phillips family who realizes what kind of man Merrick really is as he helps guide him into finding redemption.

Finally, there’s the duo of Jane Wyman and Rock Hudson is truly magnificent performances in their respective roles as Helen Phillips and Bob Merrick. Wyman exudes a sense of beauty and anguish to her role as a woman that just lost her husband as she tries to make sense of the tragedy that she endures while clinging to some idea of hope. Hudson brings this swagger to his role early in the film only to be grounded with a sense of humility and sensitivity that would allow Merrick to find redemption. Wyman and Hudson radiate with chemistry from the way Wyman tries to dismiss him to the growing sense of warmth they would have for each other.

Magnificent Obsession is a phenomenal film from Douglas Sirk that is highlighted by the splendid performances of Rock Hudson and Jane Wyman. It’s a film that explores not just a man trying to redeem himself in helping a widow but also a film where an unlikely love story emerges despite all of the complications that emerges. In the end, Magnificent Obsession is a sensational film from Douglas Sirk.

Douglas Sirk Films: (t Was een April) - (The Court Concert) - (To New Shores) - (La Habanera) - (Boefje) - (Hitler’s Madman) - (Summer Storm) - (A Scandal in Paris) - (Lured) - (Sleep My Love) - Shockproof - (Thunder on the Hill) - (No Room for the Groom) - (Has Anybody Seen My Gal?) - (Meet Me at the Fair) - (Take Me to Town) - (All I Desire) - (Taza, Son of Cochise) - (Sign of the Pagan) - (Captain Lightfoot) - All That Heaven Allows - There’s Always Tomorrow (1956 film) - (Never Say Goodbye) - Written on the Wind - (Battle Hymn) - (Interlude) - (The Tarnished Angels) - (A Time to Love and A Time to Die) - Imitation of Life (1959 film)

© thevoid99 2014

All That Heaven Allows

Directed by Douglas Sirk and screenplay by Peg Fenwick from a story by Edna L. Lee and Harry Lee, All That Heaven Allows is the story of a widow who falls for a gardener as their love affair would cause trouble among her friends in their suburban society as well as her adult children. The film is an exploration into conformity and class structure as a woman finds joy in a simple gardener. Starring Jane Wyman, Rock Hudson, Agnes Moorehead, Conrad Nagel, and Virginia Grey. All That Heaven Allows is an intoxicatingly rich and exhilarating melodrama from Douglas Sirk.

The film is an exploration into a love affair between a widow and a gardener as the latter is 15 years younger than her as their relationship starts to raise questions among her friends in suburban society. It’s a film that plays into the world where this woman is being judged by friends from her social circle as well as her adult children for being in love with this very kind and eloquent gardener who has no interest in conforming into any kind of society. It’s all part of this unique melodrama that explores not just a world where this woman is trying to find happiness. It’s a film where the world that she lives in seems stuck into their idea of traditional values unaware that things are starting to change.

Peg Fenwick’s screenplay does great work in not just creating intricate themes about conformity, class, and ageism but set it in a world where values are prevalent in this New England suburb where there are rules and people know each other. Upon meeting this gardener named Ron Kirby (Rock Hudson), Cary Scott (Jane Wyman) is intrigued by what Kirby offers as he is a very different man that prefers to live a simple world where he patiently takes care of trees and plants in his home. At the same time, he surrounds himself with friends who have no need for materialistic things as they prefer something less complicated and not give in towards the pressure of society. Cary’s infatuation with Ron has gained her the ire of her adult-children who are upset that their mother is considering marrying a man younger than her. Cary’s friends are upset not just because of the fact that Ron is younger but also for the fact that he’s a simple gardener. It would create a lot of conflict in Cary over what she wants but also what people want from her.

Douglas Sirk’s direction is truly enchanting not just for the visuals that he creates but also in the ravishing compositions he portrays the two worlds that Cary and Ron live in. The world that Cary lives is quite beautiful as Sirk brings a lot of unique imagery to locations such as the streets and shops while there’s a sense of artificiality in the parties she goes to as they’re very lavish. In the world that Ron lives in, it’s much more quaint and livelier as the party Cary attends that is filled with Ron’s friends might be a bit crowded but there’s a lot of joy as people dance as opposed to the people in Cary’s world where they just drink and gossip. When Cary introduces Ron to her children and her friends, he does his best to present himself while wanting to be himself yet her children are aghast over how young he is while her friends are surprised by his behavior when Cary is being harassed by a party guest. The third act has Cary not only deal with her unhappiness but also what is happening for her children that would eventually prompt her to make her own decisions. Overall, Sirk crafts a very lush yet powerful drama about a widow who deals with the judgment of others over her new love life.

Cinematographer Russell Metty does magnificent work with the film‘s very rich and colorful cinematography with its gorgeous use of Technicolor from the exteriors with its use of blue for some its nighttime scenes to the way he lights the interiors as it‘s definitely one of the film‘s major technical achievements. Editor Frank Gross does excellent work with the editing in the use of matching dissolves as well as the use of fade-outs and other sort of seamless cuts as it helps play to the film‘s melodramatic tone. Art directors Alexander Golitzen and Eric Orbom, along with set decorators Russell A. Gausman and Julia Heron, do brilliant work with the set pieces from a few background sets for some of its exteriors outside of Ron‘s wheel mill home as well as the intricate attention to detail in the way Cary‘s house look as well as the other places she goes to.

The gown designs by Bill Thomas is fantastic for the look of the gowns that many of the women wear as it adds to the film‘s mesmerizing look. The sound work of Leslie I. Carey and Joe Lapis is terrific for some of the minimal sound effects as well as the way things sound on location. The film’s music by Frank Skinner is amazing for its very serene orchestral score that includes some very heavy themes to play into its melodrama while music supervisor Joseph Gershenson brings in a couple of classical pieces by Brahms and Listz as well as a traditional Christmas song to play into the drama of Cary longing for Ron.

The film’s superb cast includes some notable small roles from Donald Curtis as Howard who often harasses Cary into kissing him at parties, Merry Anders as Alida’s cousin Mary Ann whom Cary thinks is Ron’s girlfriend, Jacqueline De Wit as the very gossip socialite Mona, Nestor Paiva as a friend of Ron in Manuel, and Conrad Vagel in a terrific performance as Cary’s date Harvey who accompanies her to the film’s first party. Hayden Rorke is wonderful as Dr. Dan Hennessy who examines Cary late in the film as she comes to him over headaches while Charles Drake is excellent as Ron’s friend Mick who gave up a life of ambition for something more simpler. Virginia Grey is brilliant as Mick’s wife Alida who reveals to Cary a lot about Ron and his ideals as well as being key to Cary wanting to be with Ron in its third act.

William Reynolds and Gloria Talbott are amazing in their respective roles as Ned and Kay Scott as two of Cary’s adult children who oppose her union with Ron with Reynolds being the more outspoken Ned while Talbott is the more open but wary Kay. Agnes Moorehead is fantastic as Cary’s best friend Sara who questions what Cary is doing though she thinks that Ron is a nice guy but often worries about Cary’s social status. Finally, there’s Rock Hudson and Jane Wyman in truly outstanding performances in their respective roles as Ron Kirby and Cary Scott. Hudson exudes a sensitive masculinity into his role as a very kind-hearted man who represents the absolute individual that doesn’t care what people thinks as he loves Cary. Wyman brings a sense of grace into her role as the widow Cary who is reluctant to attend social parties as she seeks to find happiness while dealing with the judgment she receives from family and friends. Hudson and Wyman have great chemistry together in the way they deal with the judgment of other people and how they spend time together.

All That Heaven Allows is a phenomenal film form Douglas Sirk that features exemplarily rich performances from Rock Hudson and Jane Wyman. The film is truly one of the finest melodramas ever created as well as great introduction to anyone new to Sirk. Especially as it’s a film that has a lot of beauty and captivating themes that explores the need to fit in against the ideas of individuality. In the end, All That Heaven Allows is a tremendously ravishing film from Douglas Sirk.

Douglas Sirk Films: (t Was een April) - (The Court Concert) - (To New Shores) - (La Habanera) - (Boefje) - (Hitler’s Madman) - (Summer Storm) - (A Scandal in Paris) - (Lured) - (Sleep My Love) - Shockproof - (Thunder on the Hill) - (No Room for the Groom) - (Has Anybody Seen My Gal?) - (Meet Me at the Fair) - (Take Me to Town) - (All I Desire) - (Taza, Son of Cochise) - Magnificent Obsession (1954 film) - (Sign of the Pagan) - (Captain Lightfoot) - There’s Always Tomorrow (1956 film) - (Never Say Goodbye) - Written on the Wind - (Battle Hymn) - (Interlude) - (The Tarnished Angels) - (A Time to Love and A Time to Die) - Imitation of Life (1959 film)

© thevoid99 2014

How the West Was Won

Directed by John Ford, Henry Hathaway, and George Marshall and written by James R. Webb, How the West Was Won is a five-part story about the life of a family told through four generations in the development and migration of the American west. Narrated by Spencer Tracy, the film is a mixture of the epic films of mid-20th Century mixed in with the broad canvas of the western. Starring Carroll Baker, Walter Brennan, Lee J. Cobb, Andy Devine, Henry Fonda, Carolyn Jones, Karl Malden, Harry Morgan, Gregory Peck, George Peppard, Robert Preston, Debbie Reynolds, James Stewart, Eli Wallach, John Wayne, and Richard Widmark. How the West Was Won is a majestic yet sprawling film from John Ford, Henry Hathaway, and George Marshall.

The film is a five-part series that tells the story about one family in the course of fifty years that would shape the American west through various periods in American history. All of which plays into the lives of a few people in the family known as the Prescotts where they travel on the Erie Canal to find a new home where two sisters would later take different paths in the second act. One goes to California to claim a piece of land she’s inherited with a gambler while the other settles into farm life with a trapper she fell for during her family’s journey in the river. The story then moves into the 1860s where the son of these women becomes part of the Civil War and later a cavalryman dealing with the changing times and the arrival of the railroad until he would meet his aunt for the very first time in the final part of the story.

It’s all part of James R. Webb’s extraordinary story about a family living in a period where the American west is discovered as they also endure the many changes in those fifty years as it’s told by Spencer Tracy as his narration only fill in moments about what has happening in America instead of the story about the Prescotts. All of which is separated in five parts with the first part being about the Prescotts at the Erie Canal and the treacherous journey they take where one of the daughters in Eve (Carroll Baker) falls for a trapper named Linus (James Stewart). The second part is about Eve’s sister Lilith (Debbie Reynolds) and her journey through the prairies where she and a gambler named Cleve (Gregory Peck) go to the west to get some land she’s inherited. The third part is about Eve’s son Zeb (George Peppard) and his encounter with the Civil War as he becomes a key player in the fourth and fifth part where he deals with the railroad where he meets an old friend of his father in Jethro Stuart (Henry Fonda).

It would play into this family’s encounter with history and how times are often changing in the West as they deal with the chaos of the Civil War, conflict with the Native Americans over the railroad, and also criminals and bandits over cattle and such. Notably as Zeb in the film’s third act realizes the horrors of war and the greed that comes into play involving the railroad as he definitely carries a sense of pride and honor that his father and uncle would carry in their lives. Even in the fifth and final part where he meets his aunt Lilith for the very first time while having to deal with a criminal named Charlie Gant (Eli Wallach) who has a grudge with Zeb.

The film’s direction is definitely vast in not just its composition but also in the way it wanted to tell a story about the development of the American west. Shot in the curved-three screen projector that was known as Cinerama, the film has this truly grand scale to capture not just the landscape of the American west but also the moments that shaped that world in the span of five decades. Under the vision of three filmmakers, with transitional scenes helmed by Richard Thorpe, the film does have this sense of unification in the filmmaking while each director does bring in their own ideas to the story to add that sense of epic storytelling. The Civil War segment is helmed by John Ford as it features not just some extravagant battle scenes but also some intimate moments where Zeb encounters the horror of war while meeting a Confederate drifter (Russ Tamblyn) as it’s a very telling piece to display Zeb’s sense of loss and his desire to find himself in an ever-changing world.

The railroad segment is helmed by George Marshall as it displays a lot of dramatic tension and some very intense scenes involving a buffalo stampede which would play to Zeb’s resolve over the conflict between the railroad company and a tribe of Native Americans. The rest of the film is helmed by Henry Hathaway who maintains the same sweeping vision like his other filmmakers as he also creates his own ideas that includes some intense moments involving the Prescotts in the rapids as well as other suspenseful moments such as Gant’s attempted train robbery. All of which plays to the grand spectacle of the west as the overall results is a very sensational yet engaging film about a family living in the changing times of the American west.

Cinematographers William H. Daniels, Milton Krasner, Charles Lang Jr., and Joseph LaSelle do fantastic work with the film‘s very colorful and vast cinematography to capture the vast beauty of the different landscapes in the American west along with some amazing shots set at night and the interiors to display some of the film‘s vibrant look. Editor Harold F. Kress does brilliant work with the editing in not just bringing some energy to some of the shootouts and battle scenes but also going for a methodical approach to some of the film‘s dramatic moments. Art directors George W. Davis, William Ferrari, and Addison Hehr, along with set decorators Henry Grace, Don Greenwood Jr., and Jack Mills, do excellent work with the set pieces from the look of the rafts in the first segment to the farms and buildings made during the film‘s duration and how it would evolve over time.

Costume designers Walter Plunkett and Ron Talsky do terrific work with the costumes from the showgirl costumes that Lilith wear in the second segment along with her dresses to some of the more low-key costumes most of the characters wear in their journey. The special visual effects work of A. Arnold Gillespe and Robert R. Hoag do nice work with the visual effects for the scenes set in the river rapids despite the fact that it sort of looks fake given the primitive technology that was used at the time. Sound editor Van Allen James does superb work with the sound to capture the extravagance of some of the gunfights and battles along with more intimate moments in some of the film‘s locations. The film’s music by Alec Newman is wonderful for its array of themes from broad and sweeping to more serene yet somber in their orchestral arrangements while the soundtrack also includes lots of traditional folk and country songs some of which are actually sung by Debbie Reynolds.

The film’s cast is phenomenal as it features some small but notable appearances from Lee Van Cleef as a river pirate, Harry Dean Stanton as a member of Gant’s gang, Raymond Massey in a brief scene as Abraham Lincoln, Harry Morgan as General Ulysses S. Grant, Russ Tamblyn as a Confederate deserter that Zeb meets, Carolyn Jones as Zeb’s wife Julie in the fifth segment, Thelma Ritter as Lilith’s traveling companion Agatha Clegg, and John Wayne in a small yet amazing performance as General William Tecumseh Sherman who gives a great monologue about not giving up the Civil War. Other noteworthy and memorable performances include Karl Malden and Agnes Moorehead as Lilith and Eve’s parents in the first segment, Walter Brennan and Brigid Balzen as a couple of river pirates, Robert Preston as a wagon master who tries to win Lilith’s heart, and Lee J. Cobb as a marshal who reluctantly helps Zeb to battle Gant.

Eli Wallach is excellent as the smarmy criminal Charlie Gant who is eager to cause trouble for Zeb Prescott while Richard Widmark is terrific as an immoral railroad baron who is more concerned with making money with the railroad no matter what the cost is. Henry Fonda is great in a small but memorable role as Linus’ old friend Jethro Stuart as a man who helps Zeb out over the conflict between the railroad and a Native American tribe as he would also help Zeb find his way in life. Gregory Peck is superb as the gambler Cleve Van Valen who is smitten by Lilith as he hopes to do whatever it takes to make her a proud woman. James Stewart is brilliant as the trapper Linus Rawlings who helps out the Prescotts in navigating the river while dealing with river pirates as he falls for Eve.

George Peppard is wonderful as Zeb as a man who has the same sense of pride and honor like his father Linus while dealing with the chaos in the changing times he encounters. Carroll Baker is amazing as Eve Prescott as a woman who falls for Linus as she deals with the dangers of the river. Finally, there’s Debbie Reynolds in a remarkable performance as Lilith Prescott as a woman who is very tough as well as talented as she is someone trying to define herself as a woman while finding a good man in Cleve as she later helps Zeb’s wife in the way Zeb is when it comes to action.

How the West Was Won is a sensational film from John Ford, Henry Hathaway, and George Marshall. Thanks to its sprawling vision, engaging story about a family encountering historical moments in the course of five decades, and a brilliant ensemble cast. The film is definitely an epic-western that has to be seen in a big screen or a big TV to display its vast images. It’s also a film that explores the life of a family and how they manage to define themselves in the American west no matter how troubling it is. In the end, How the West Was Won is an incredible film from the trio of John Ford, Henry Hathaway, and George Marshall.

© thevoid99 2013

The Magnificent Ambersons

Based on the novel by Booth Tarkington, The Magnificent Ambersons is the story about a family who face declining fortunes due to changing times as they also deal with social issues that are happening. Written for the screen, directed, and narrated by Orson Welles. The film explores the dynamics of a family who struggles with new changes as they try to maintain their way of life. Starring Joseph Cotten, Agnes Moorehead, Anne Baxter, Tim Holt, Dolores Costello, and Ray Collins. The Magnificent Ambersons is a captivating drama from Orson Welles.

The film is essentially the story about a family from the early 20th Century who were the darlings of a small town in Indiana only to be affected by changing times when the arrival of the automobile arrive as the fortunes of this unique family start to dwindle. Notably as it revolves around this young man in George Amberson Minafer (Tim Holt) who returns from college to find out that an old family friend in Eugene Morgan (Joseph Cotten) has also returned after a 20-year absence to present the Ambersons his new invention in the automobile. While George would have feelings for Eugene’s daughter Lucy (Anne Baxter), he learns that Eugene and his mother Isabel (Dolores Costello) have had feelings for each other that upsets George and his aunt Fanny (Agnes Moorehead). When George does whatever to stop this from happening yet it would lead to the downfall of the family whose fortunes and reputation were already dwindling.

Orson Welles’ screenplay explores the dynamics of the family as he narrates the film every now and then to give a few moments of exposition to establish who these people are. Notably George Amberson Minafer who arrives as a very spoiled son who the locals hope would get his comeuppance. When George becomes a young adult, he is still a young man with a lot of pride who is instilled about what the Amberson family should be. Yet, he would tease his aunt Fanny while often hanging around with his uncle Jack (Ray Collins) while still being devoted to his family. The arrival of Eugene Morgan would only complicate mattes as George thinks Eugene Morgan is ruining things with this new invention. Yet, the invention would become a major success as it would contribute to changing times.

Though Morgan’s intentions are noble as he wants the Ambersons to be part of his success, George and Fanny each are unsure that Morgan is doing the right thing. Notably as George learns through Jack and Fanny about his mother’s relationship with Eugene and that they were still in love with each other when Isabel married George’s father (Donal Dillaway). Now that George’s father is gone, Isabel and Eugene can renew their love affair yet it hurts George very much as he’s also infatuated with Eugene’s daughter Lucy. It would be his pride for himself and his family that would cause the downfall as he tries to shun Eugene away from his mother only for things to go wrong that led to their downfall.

Welles’ direction is definitely stylish in the way he presents small town Indiana in the 20th Century where the center of this small town is this estate that represents the Ambersons. Through his narration, Welles establishes what kind of family the Ambersons are where even though they are revered by the locals. There is also a bit of discontent in the way young George would have this belief that he owns the town. By the time he returns from college, he’s still that kid of sorts who feels like he is the man of the town as he and his mother are the hosts of this annual lavish party they would have. It’s in this party where Welles would set the stage for everything that would mark the beginning of the end for the Ambersons.

While a lot of the shots are quite straightforward, the mood that Welles puts into the shots add to the dramatic stakes. Notably in some of the exteriors where it features some tracking shots where Welles would follow the camera around the characters as they’re walking in this small town. Still, the direction does have its sense of style in the way Welles would position the actors in some key dramatic moments that occur. Notably in the third act where the downfall of the family finally comes into play through as Welles maintains that air of style that occurs. Yet, it would be followed by an ending that isn’t what Welles had intended as it would be helmed by his assistant director Fred Fleck and editor Robert Wise. Even though the final results are just an idea of a much bigger story Welles wanted to create, the final film version is still an engaging piece about drama and pride.

Cinematographer Stanley Cortez does excellent work with the film‘s black-and-white photography to create moods for some of the film‘s interior scenes while the exteriors are more straightforward. Editor Robert Wise does wonderful work with the editing by taking on some straightforward cuts as well as stylized uses of dissolves and wipes. Production designer Albert S. D’Agostino and set decorator Darrell Silvera do amazing work with the sets from the looks of the car and towns to the lavishness that is the Amberson estate.

Costume designer Edward Stevenson does fantastic work with the costumes that the women wear to create their personalities from the lavishness of Isabel, the more prim look of Fanny, and the more youthful style of Lucy. Sound recorders Bailey Fesler and James G. Stewart do terrific work with the sound to capture the atmosphere of the film‘s party scenes as well as the tense moments in the film such as George‘s dismissal about Eugene‘s idea about the automobile. The film’s music by Bernard Herrmann is superb for its soaring orchestral score to play up some of the melodrama that happens in the film.

The film’s cast is quite stellar for the ensemble that is created as it features notable small roles from Bobby Cooper as the young George, J. Louis Johnson as the Ambersons’ butler Sam, Richard Bennett as the Amberson patriarch Major Amberson, Erskine Sanford as a law clerk who tries to help George in the third act, and Donald Dillaway as George’s ailing father Wilbur. Ray Collins is superb as George’s uncle Jack who tries to figure out what is best for the family while dealing with the chaos that is happening around them. Agnes Moorehead is great as George’s melodramatic aunt Fanny who pines for Eugene Morgan as she tries to help George sway Eugene from Isabel. Anne Baxter is wonderful as Eugene’s daughter Lucy who has feelings for George as she tries to deal with his immaturity. Dolores Costello is radiant as Isabel who deals with the loss of her husband as well as Eugene’s presence in the hopes to find someone to be with only for things to get complicated.

Joseph Cotten is great as Eugene Morgan as a man who wants to show the world his invention as he intrigues the Ambersons while gaining the ire of George over Isabel. Finally, there’s Tim Holt in a marvelous performance as George Amberson Minafer as a young man who is threatened by Morgan’s new rules and ideas as he tries to hold on to his old ways only to succumb to his own selfish pride and immaturity.

The Magnificent Ambersons is an incredible film from Orson Welles. Featuring an outstanding ensemble cast that includes Joseph Cotten, Tim Holt, Agnes Moorehead, Anne Baxter, Dolores Costello, and Ray Collins. It’s a film that explores the world of changing times and people trying to hold on to the old ways. Notably as it also reveals the sense of fear just as the world is about to change in the eyes of a young man. In the end, The Magnificent Ambersons is a remarkable film from Orson Welles.

Orson Welles Films: Citizen Kane - The Stranger (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Mr. Arkadin - Touch of Evil - The Trial (1962 film) - Chimes at Midnight - The Immortal Story - F for Fake - Filming Othello – The Other Side of the Wind

Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2

© thevoid99 2013

Blind Spot 2013: Citizen Kane

Directed by Orson Welles and written by Welles and Herman J. Mankiewicz, Citizen Kane is the story about the life of a publishing tycoon as people investigate his final words as they reflect on his triumphs and scandals. The film is an exploration into the life of a man and how he became successful but also infamous as Welles plays the lead role of Charles Foster Kane. Also starring Joseph Cotten, Dorothy Comingore, Everett Sloane, Ray Collins, George Coulouris, Agnes Moorehead, Paul Stewart, Ruth Warrick, Erskine Sanford, and William Alland. Citizen Kane is a towering film from Orson Welles.

The film is essentially the story about the rise and fall of a publishing tycoon who tried all he can to make the world love him and be loved in the hopes to find happiness. Instead, he dies a man who has surrounded himself with all sorts of things like statues and various objects yet keeps uttering the world “rosebud”. That word would set the story in course as a reporter named Jerry Thompson (William Alland) tries to uncover the mystery about this word. Is it about someone in his life or an object he held very dearly? By talking to various people in this man’s life, Thompson finds himself trying to figure out what does it all mean. Yet, he also learns that the life of Charles Foster Kane is just as mysterious as the meaning of Kane’s final word.

The screenplay that Orson Welles and Herman J. Mankiewicz creates does use the rise-and-fall schematics as part of a plot device. Yet, it is told unconventionally since it’s more about the life of a man told by other people. The film begins with Kane uttering his final words and then goes into this newsreel montage of who Charles Foster Kane is. Through this newsreel, Kane is revealed to be a man who was adopted by a rich banker only to be surprised by Kane’s ambitions to run a newspaper and then become a man of great power. Yet, Kane would be married twice in his life and later divorced while becoming obsessive in building a paradise of his own called Xanadu. Kane would also endure scandal and failure as his desperation to be loved by the world only has him driving away those who cared for him where it leads to his own downfall.

Since it’s a story about a man’s life told by others, it allows the character of Thompson to figure out what “rosebud” means. There, he goes through the archives of Kane’s late guardian Walter Parks Thatcher (George Coulouris) while interviewing associates like friend Jedediah Leland (Joseph Cotten), business manager Mr. Bernstein (Everett Sloane), and his butler Raymond (Paul Stewart) at Xanadu. Then there’s Kane’s second wife Susan Alexander (Dorothy Comingore) who would be the woman to end Kane’s first marriage and his political campaign to be New York state governor. With the exception of Raymond, the individuals that Thompson meets would reveal a lot about who Kane is but also his flaws as a man where they all endured his cruelty though none of them including Raymond know who or what “rosebud” is.

Welles’ direction is entrancing for the way he presents the story about the life of this man in such a wide range of style. From the use of newsreels to help establish who Kane is before the film’s main narrative begins as well as the array of montages and stylish compositions. The direction is often filled with an array of arresting imagery from the look of Xanadu shown from its gate with this amazing mountain castle as it’s backdrop to the presentation of the opera scenes that Susan performs in. It’s all part of this world that Kane lives in as it lives up to the sense of grandeur of who this man as he is a larger than life figure. Welles uses all sorts of unique crane shots and other stylized compositions to establish this larger-than-life persona that Kane is including in the scene where he makes his campaign speech to the people.

The direction also has Welles create compositions that are striking in the way he puts an actor in the background while another is placed very closely to the camera. It’s Welles establishing of what is happening such as a scene where the eight-year old Kane (Buddy Swan) is playing outside of the house while the focus is inside where Thatcher talks to Kane’s parents about adopting him. It’s a framing device Welles would use to establish the sense of detachment that occurs between Kane and the people in his life. These are among the many stylized shots including the film’s opening sequence that is filled with an array of dizzying dissolves and special effects shots courtesy of Vernon L. Walker. Notably as it play to Kane’s death and what he was craving for in his final word.

While Welles does use a lot of stylized shots to establish key dramatic events or environments that play up to the characters Thompson interviews. There’s also moments where Welles would create images that are simple yet ominous. Notably at objects where it plays to the obsessive mind of Kane who fills his life with statues and things yet it also reveals the emptiness he is as a man. It all comes back to that final word that he says in “rosebud”. “Rosebud” does get revealed but what is revealed says a lot more of not what just Kane lost in his life but the path he had taken in his life that had brought him a lot of things but also ruin. Overall, Welles creates a very fascinating yet exhilarating portrait of a man who has everything and then loses everything.

Cinematographer Gregg Tolland does what is truly some of the most exquisite use in the art of photography. From the simpler shots for some of the film‘s exterior scenes to the gorgeous compositions for many of the film‘s backdrop settings. Tolland‘s photography is a major highlight in the film‘s technical field that includes some mesmerizing shots in many of the film‘s interiors from the way he uses shadings and lighting schemes to set the mood. Editor Robert Wise does fantastic work with the editing to play up the sense of grandeur that Kane is where Wise definitely goes from style from the use of transitional cuts in dissolves and wipes as well as montages to play up Kane’s rise and fall. Art director Van Nest Polglase and set decorator Darrell Silvera do amazing work with the set pieces from the look of Xanadu in all of its spectacle landscapes and buildings that plays up to Kane‘s persona to the sets such as the Inquirer newspaper building and the opera staging for Susan.

Costume designer Edward Stevenson does wonderful work with the costumes from the suits that Kane wears to play up his persona to the clothes that Susan wears to establish who she is as a woman that eventually becomes lost in her role. The makeup work of Maurice Seiderman does excellent work with the makeup for many of the film‘s male characters to age to represent what they‘ve become including Susan who looks like a woman who‘s been worn out. The sound work of John O. Aalberg is fantastic for the atmosphere it creates from the scenes at the opera house to the more chilling, intimate moments at the Xanadu estate.

The film’s music by Bernard Herrmann is superb for the sense of drama that it plays to with its orchestral score from the ominous opening scenes to the more heavier moments with bombastic arrangements to play up the melodrama. The film’s soundtrack consists an array of music from opera to jazz as it plays to the times that Kane has lived in as well as some of the emotional moments of the film.

The casting by Rufus LeMaire and Robert Palmer is outstanding for the ensemble that is created for the film. Notable small roles include Buddy Swan as the young Kane, Sonny Bupp as Kane’s young son, Erskine Sanford as the newspaper publisher Kane gets rid of, Harry Shannon and Agnes Moorehead as Kane’s parents, and Ruth Warrick as Kane’s first wife Emily who was the niece of the then-U.S. President where their marriage eventually becomes strained. Paul Stewart is very good as Kane’s butler Raymond who reveals to Thompson about the moment Kane’s life falls apart while Everett Sloane is wonderful as Kane’s longtime business manager who very loyal to him as he watches Kane slowly fall apart. George Coulouris is excellent as Kane’s guardian in the banker Walter Parks Thatcher who is baffled by the young Kane’s ambition as he ends up being forgotten by Kane.

Ray Collins is superb in a small but memorable appearance as Kane’s political rival Jim W. Gettys who would be the one to expose Kane that would lead to his own political downfall. Dorothy Comingore is radiant as Kane’s second wife Susan Alexander as a young woman Kane falls for as he tries to make her into a great singer only to find herself unhappy with the role Kane expects her to be as she ends up a worn out woman. Joseph Cotten is great as Kane’s best friend Jedediah Leland who deals with Kane’s ambition as he finds himself overwhelmed and disillusioned where he later reflects on what kind of man Kane was. William Alland is terrific as the reporter Jerry Thompson who tries to piece the mystery about Kane’s final words as he becomes more baffled by what he finds.

Finally, there’s Orson Welles in a remarkable performance as Charles Foster Kane who becomes a man of great ambition. Welles displays great charisma and energy to a man who is larger than life only to be brought back down to earth as he starts to lose everything where Welles’ performance becomes more eerie in its final moments. Notably as he tries to become a man of defiance who wants the people to love him as he only finds himself become a man that people despise. It’s truly a performance for the ages as well as an indication of what kind of actor Welles is.

Citizen Kane is an outstanding film from Orson Welles. Thanks to a great ensemble cast and amazing technical work highlighted by Gregg Tolland’s photography, Robert Wise’s editing, and Bernard Herrmann’s music. It’s a film that definitely lives up to sense of grandeur that Welles wanted to display in the rise and fall of a man who craves to be loved only to lose something far more valuable. It’s also a film that definitely indicates into why Orson Welles is so revered by film buffs and filmmakers as it also serves as a true introduction into his work. In the end, Citizen Kane is a triumphant film from Orson Welles.

Orson Welles Films: The Magnificent Ambersons - The Stranger (1946 film) - The Lady from Shanghai - Macbeth (1948 film) - Othello (1952 film) - Mr. Arkadin - Touch of Evil - The Trial (1962 film) - Chimes at Midnight - The Immortal Story - F for Fake - Filming Othello – The Other Side of the Wind

Related: Orson Welles: The One-Man Band - The Eyes of Orson Welles - They’ll Love Me When I’m Dead - The Auteurs #69: Orson Welles: Part 1 - Part 2

© thevoid99 2013

Jane Eyre (1943 film)

Based on Charlotte Bronte’s novel, Jane Eyre is the story of an orphaned girl who goes through abuse as a child and delve into lots of turmoil in her life until she meets and falls for a man while serving as a governess at mansion. Directed by Robert Stevenson and adapted by Robert Stevenson, Aldous Huxley, John Houseman, and un-credited work from Henry Koster. The film explores a girl’s life into womanhood as she grows into different periods of her life being loveless and mistreated. Starring Orson Welles, Joan Fontaine, Margaret O’Brien, Peggy Ann Garner, John Sutton, Sara Allgood, Henry Daniell, Agnes Moorehead, and an early appearance from Elizabeth Taylor. Jane Eyre is mesmerizing and intoxicating film from Robert Stevenson.

Losing her parents at an early age and living with her cruel aunt Reed (Agnes Moorehead) and cousin John (Ronald Harris), Jane Eyre (Peggy Ann Garner) is sent to Lowood Institution where she endures more cruelty from its headmaster Mr. Brocklehurst (Henry Daniell). Finding friendship in a young girl named Helen Burns (Elizabeth Taylor) and sympathy from Dr. Rivers (John Sutton), Jane eventually becomes educated as she leaves the institution 10 years later as an adult (Joan Fontaine). Taking a job as a governess for a mansion called Thornfield Hall, she meets its housekeeper Alice Fairfax (Edith Barrett) as she would care for a young French girl named Adele (Margaret O’Brien). Walking outside of the house, Jane sees a horse coming by as a man falls off the horse as he is revealed to the house’s owner in Edward Rochester (Orson Welles).

While Rochester maintains a very brooding yet mysterious persona as he treats Jane coldly at first. He starts to confide in her in the way she takes care of Adele as well as dealing with some of the mysterious things at home. Particularly when a fire happens in Rochester’s room where Jane heard a laugh and footsteps happening. The two forge a friendship as Jane still ponders about what Rochester might be hiding as she and Fairfax organize a party that is to be attended by many guests including Rochester’s fiancee Blance Ingram (Hillary Brooke). Jane watches from afar at the party as she tries to cope with her feelings towards Rochester while a surprise visit from a man named Mr. Mason (John Abbott) appears. Rochester tries to deal with Mason, who is later injured by an attack, while Jane wonders what Rochester is hiding.

After helping Rochester deal with Mason, Jane considers leaving as Rochester pleas for her to stay. Just as things between the two go well, Rochester’s secret is unveiled forcing Jane to make a heartbreaking decision of her own.

In this adaptation of Charlotte Bronte’s novel about a poor, mistreated plain woman who falls for this mysterious man whose house she runs as she tries to discover what is he hiding and why he is often away from this house. Throughout the film, the story explores this young girl’s journey into seeking love and companionship as she would endure loss and abuse as a child and later deal with a form of indifference as an adult. Yet, there would be people who would care for this young girl that would shape her into becoming this woman who can run things and be this observer to a man who is quite enigmatic and often very cold at times. The screenplay explores the relationship between Jane Eyre and Mr. Rochester as well as being this very dramatic mystery. It is told largely from Jane’s perspective as if she is reading the actual book which includes an intro made for the film. While some scenes are changed from the book to add more dramatic punch to the film, the script does work in maintaining the tension and longing between Eyre and Rochester.

Robert Stevenson’s direction is very stylish for the way the Thornfield Hall manor and its exteriors are presented to maintain that Gothic look and tone of the book. While a lot of the compositions for the conversations and dramatic portions of the film are straightforward. There is an element of style to the look of those shots while Stevenson does create some amazing close-ups to express the emotions and drama. For the suspenseful moments, Stevenson slowly builds things up while keeping this ambiguous as he doesn’t reveal Rochester’s secret except in little hints and through conversation. The overall work that Stevenson does is pretty remarkable as well as spellbinding for maintaining a look that is true to Bronte’s vision of the story.

Cinematographer George Barnes does an incredible job with the film‘s black-and-white photography from the chilly exteriors of the moors to the more entrancing shades and ominous look for the dark interiors at the Thornfield Hall manor. Editor Walter Thompson does an excellent job with the editing as a lot of it is straightforward with dissolves and transitional fade-outs to help maintain a leisured pace for the film. Art directors James Basevi and Wiard Ihnen, along with set decorator Thomas Little, do fantastic work with the set pieces created such as the eerie manor as well as the spacious yet oppressive Lowood dining hall.

Costume designer Rene Hubert does a nice job with the costumes from the black dress and bonnet that Jane Eyre wears to the more regal look of Rochester. The sound work of W.D. Flick and Roger Heman Sr is terrific for the intimacy it provides in the conversation scenes along with the more terrifying moments involving thunderstorms and winds that occur in a few scenes. The film’s score by Bernard Herrmann is brilliant for its sweeping yet suspenseful score that also swells into dramatic arrangements led by a big orchestra as it’s the film’s technical highlight.

The film’s cast is definitely outstanding for the ensemble created that includes small roles from John Abbot as Mr. Mason, Ronald Harris as Jane’s young cousin John, Hillary Brooke as Rochester’s outgoing fiancee Blanche, Aubrey Mather as Rochester’s party guest Colonel Dent, Sara Allgood as Jane’s old kind maid Bessie, and a young Elizabeth Taylor in a splendid performance as young Jane’s best friend Helen Burns. Other notable supporting roles include Edith Barrett as the helpful Mrs. Fairfax, Henry Daniell as the abusive Brocklehurst, Anges Moorehead as the cruel Mrs. Reed, and John Sutton as the very kind Dr. Rivers. Margaret O’Brien is very good as the lively Adele while Peggy Ann Garner is superb in the role of the young Jane Eyre.

Orson Welles is great in the role of Edward Rochester with his imposing physique and brooding persona. While Welles’ approach to the character is theatrical in its tone, he does maintain the dramatic tropes needed for the character as he delves into despair. Finally, there’s Joan Fontaine in a fantastic performance as the titular character. Armed with a great sense of restraint to the melodrama as well as being a woman who endures all sorts of tribulations as well as refusing to be pinned down for who she is. It’s a very entrancing yet spellbinding performance from Fontaine.

The 1943 film version of Jane Eyre is a wonderful yet eerie film from Robert Stevenson featuring outstanding performances from Orson Welles and Joan Fontaine. The film is definitely an interesting take on Charlotte Bronte’s novel as well as playing to the dramatic style of the 1940s. Notably as it features some amazing technical work to help play to the Gothic mood of the film. In the end, Robert Stevenson’s adaptation of Jane Eyre is a chilling yet rapturous film.

Jane Eyre (2011 film)

© thevoid99 2012