Katharine Hepburn in one of the amazing costumes created by Walter Plunkett
On paper, it ought to have been so good. A great director, John Ford, a great star, Katharine Hepburn, and a legendary story of rivalry between two queens. Yet somehow on the screen this historical spectacular doesn’t live up to its pedigree. It’s a slow and often boring film, despite its atmospheric, shadowy lighting, lavish art direction and evocative score by Nathaniel Shilkret, featuring snatches from many Scottish folk songs. There are some memorable patches, but the film as a whole doesn’t live up to its best scenes.
Ford famously “printed the legend” rather than worrying about historical accuracy, and that’s certainly the case here. The film turns Mary into a tragic heroine and her controversial relationship with Bothwell, played by Frederic March, into a picturesque romance. Of course, biopics and historical dramas always reshape events, and this one does that shaping from a pro-Stuart, anti-Tudor angle, editing out facts and speculation which work against its chosen story. Many dramas taking Elizabeth as the heroine have done just the opposite.
This posting is really a follow-up to the excellent John Garfield centenary blogathon. In the last few days I’ve been lucky enough to see one of Garfield’s rarer films, Saturday’s Children, and was surprised to realise just how many other versions of the same story have been made. The film was reviewed during the blogathon, but I can’t resist giving my own take on it too. Anyway, after talking about the film itself, I’ll then go on to mention the other versions which have been staged or filmed, ranging from the original Broadway stage play – starring a very young Humphrey Bogart! – right through to a stage revival in the last couple of years. I’ll also post some pictures of some of the other versions. Although I do like discussing endings, I’ve resisted the temptation on this occasion, so there are no serious spoilers in this posting – but, if you just want to know about the other versions, scroll down to the bottom!
The 1940 film starring Garfield, directed by Vincent Sherman, was the third screen adaptation of Maxwell Anderson’s play. It is often described as a romantic comedy – but perhaps a more accurate description is that it’s a tragicomedy. The way it moves from sweet early scenes to increasingly painful/bitter ones, and eventually lurches into near-melodrama, reminded me of one of my favourite James Cagney films, The Strawberry Blonde, made the following year,which I will be writing about soon for the forthcoming James Cagney blogathon. Both films have scripts by Casablanca writers Julius J. and Philip G. Epstein, reworked from stage plays, and both see Warner Brothers ‘tough guys’ cast somewhat against type, in roles which bring out their more vulnerable qualities.
After being overwhelmed by William Wellman’s Wings (1927), I wanted to see another of his few surviving silent films. This is a haunting tale of tramps wandering through a shadowy underworld, starring Louise Brooks, Richard Arlen and Wallace Beery.
Louise Brooks and Richard Arlen
Although this film was made before the Great Depression, it looks forward to later Wellman movies like Wild Boys of the Road (1933) in focusing on the outcasts of society and showing poor people’s desperate struggle to survive. I’m not going to go into as much detail about this movie as I did about Wings, but I definitely think it’s another masterpiece – and I’m saddened that it is so little known.