Frank Loesser’s amazing score for Guys and Dolls has to be one of the greatest ever written, packed with unforgettable songs, from Fugue for Tinhorns to Luck, Be a Lady and Sit Down, You’re Rockin’ the Boat. Michael Kidd’s fast-moving choreography in the colourful street scenes, using Cinemascope to its full effect, adds to the atmosphere, while the dialogue is full of sharp one-liners. However, the film has had much adverse criticism over the years.
So what’s the reason for the widespread lack of enthusiasm? I think it might be mainly that the stage musical is so beloved and frequently revived, with the film coming off second-best by comparison . As with so many adaptations, a few of the songs from the stage show were jettisoned for the film, including such greats as I’ve Never Been in Love Before – Marlon Brando, controversially cast in a singing role, is said to have struggled with some of the notes. However, as compensation, Loesser wrote some new songs for the film, including A Woman in Love for Brando and Sinatra’s show-stopper Adelaide, which, going full circle, is now sometimes included in stage productions.
I’ve been meaning to write something about this little-known but powerful melodrama directed by King Vidor, which was made under the Hays Code, but feels like a pre-Code in its sympathetic portrayal of an adulterous passion. Unfortunately I’ve left it a little too long since watching it and my memories are starting to fade, but I do want to write a brief review and post the lovely stills that I’ve collected together from this production. Gary Cooper stars as a hard-drinking and debt-ridden author suffering from writer’s block, a character said to have been based on F Scott Fitzgerald, with Anna Sten as a Polish farm girl who he falls for. Gregg Toland’s atmospheric black and white photography helps to create a feeling of unbearable tension, especially in the later scenes.
This posting is my contribution to the William Wyler blogathon at R.D. Finch’s blog The Movie Projector, running from June 24 to 29. Please do visit and take a look at the other postings, which are covering the whole of Wyler’s career and a lot of great movies.
There have been many film and TV adaptations of Wuthering Heights over the years. But I think it’s true to say that the first one most people think of is still William Wyler’s black-and-white classic from the great Hollywood year of 1939, starring Laurence Olivier and Merle Oberon. This adaptation is not especially faithful to the book, and indeed cuts out the whole second generation, who take up nearly half the novel. However, its wild, rain-lashed melodrama does come close to the spirit of Emily Brontë’s troubling masterpiece, and is something which modern versions, even if closer to the book on the surface, struggle to match.
Wuthering Heights is a great Gothic novel, but the film version starts with more of a flavour of Gothic horror movies, as the new tenant Lockwood (Miles Mander) makes the mistake of reaching a crumbling mansion in the middle of a storm. He then has to stay the night in the bridal chamber, which hasn’t been used for years, and which has a broken window for the wind and rain to whirl in through. All this would of course have been fresher and less clichéd in the 1930s than it is now, but, in any case, Alfred Newman’s music and Greg Toland’s amazing moody cinematography build the tension to fever pitch before Cathy’s ghost is heard wailing in the distance, followed by the unforgettable scene of Laurence Olivier as Heathcliff reaching out of the window in hopeless pursuit of a ghost, crying out: “Cathy! Come to me, oh do, once more!” This is one of the film’s key scenes, along with the moment where Merle Oberon, as Cathy, confesses: “Nelly, I am Heathcliff”. It seems the most passionate moments in this movie come when the lovers are apart – and yearning for what they have thrown away.