Once again I’m taking part in a blogathon – this time it is the Universal Backlot Blogathon, organised by Kristen of the Journeys on Classic Film website. A number of bloggers are taking part and covering a wide range of films made on the Universal backlot , to celebrate its 100th anniversary – please do visit Kristen’s site and take a look at the other postings.
First of all, a confession… I’ve belatedly realised that the film I’ve chosen to write about, William Wyler’s thriller The Desperate Hours starring Humphrey Bogart, was in fact mainly filmed on Paramount’s sound stages, with specially-built sets including a seven-room family house. Only some exteriors were shot on the Universal backlot. However, the way this film cranks up the tension to unbearable heights does have something in common with Universal’s famous horror films, even if in this film the horror unfolding is all too realistic, and the monster is just a man with a gun.
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.
I just wanted to mention that I’ve been asked to take part in a couple of blogathons on classic movie themes which are coming up soon, and am looking forward to both of them.
First off, KC at Classic Movies is organising the Mary Pickford Blogathon on June 1, 2 and 3 – I will be writing a posting about Pickford’s silent film Daddy Long Legs (1919). There are a lot of bloggers taking part, including some experts on Mary Pickford (I don’t know much about her, must admit!), so I’m looking forward to learning a lot more about her work and the era of silent film. I think it is still possible to sign up to take part in this blogathon if you are interested.
Then from June 24-29, R.D. Finch will be running the William Wyler Blogathon at his blog The Movie Projector, to mark the 110th anniversary of Wyler’s birth. I am going to contribute a piece about Wuthering Heights (1939), starring Laurence Olivier and Merle Oberon. The line-up for this blogathon has been finalised and it has a wide range of bloggers who will be covering many different Wyler films.
I’ll mention both of these events again nearer the time, but just wanted to give a heads-up now. Please do visit both KC and R.D.’s sites to find out more about what is planned, and thanks to both of them for all their hard work in organising these events!
Back to the pre-Code period – and back to John Barrymore. I’ve already written about one fine, though little-known, film where he plays a lawyer, State’s Attorney (1932). The following year he starred in this even better legal drama, which must be one of his finest talkies, and is available on DVD from Kino, though in region 1 only. Barrymore gives a restrained but moving performance as a workaholic lawyer, who spends much of the film having two or three phone conversations at once. Sadly there are no courtroom scenes this time – but it’s an utterly compelling film, which repays repeated viewings. Indeed, you’ll need them to catch all the quickfire dialogue, especially in the scenes with Isabel Jewell chattering away irrepressibly as switchboard operator Bessie.
Like many early 1930s films, this drama is based on a stage play, in this case by Elmer Rice. It does betray its stage origins in the way that it is entirely based in one setting, within the Simon and Tedesco suite of legal offices in the Empire State building. However, where some films set in just one location might drag at times, Counsellor at Law, an early success for great director William Wyler, moves at a breathless pace. Rice, who adapted his own play for the screen, had trained and worked as a lawyer, and the legal background feels very authentic as far as I can tell, tackling still-current issues such as insider trading and professional standards.