Rating: 
Summary: Watch closely
Review: "The Heiress" is William Wyler's screen adaptation of Henry James' novella, "Washington Square." For a modern viewer trained to seek out heros and villains in any story the structure of this film might be summarized thus: The insecure and none too bright young woman played by Olivia de Havilland does eventually get it through her thick skull that her father (played by Ralph Richardson) has a deep-seated contempt for her and that her suitor (played by Montgomery Clift) is after nothing but her fortune. Newly armed with this knowledge she is able to see her father's threat to disinherit her as the bluff it is and call him on it, and to close the door on Montgomery Clift's advances. Someone inclined to see the movie this way would thrill to our heroine's triumph over the two villainous men in her life while reserving a little sadness for the fact that she's resigned herself to a life of spinsterhood.The film is well worth watching even if you choose to read the film this way because the performances by the three principal actors are a beauty to behold (de Havilland won an Oscar for her performance) and Wyler's cinematic story telling techniques are so accomplished. For instance, watch Ralph Richardson open and close those pocket doors between rooms. It lets Wyler move seamlessly from cut to cut while appearing to maintain the flow of a long scene while at the same time suggesting Richardson's controlling nature. But a more careful look at the Clift and de Havilland characters is what gives this film the richness and subtlety of a five star movie. In the opening minutes of the film we see a short interchange between de Havilland and a servant in the household which reveals de Havilland to have a clever sense of humor. It's her insecurity with her father and with social situations with strangers that freezes her up and makes her appear much more dimwitted than she is. Likewise, shortly after Montgomery Clift appears at a party we see the revealing crack of insecurity in his facade of charm when he fetches de Havilland a drink and momentarilly thinks he's been ditched when he returns (nicely mirroring de Havilland's experience of being ditched by an earlier party companion). So what we see when we look closely is a woman with an insecure exterior who has an inner capacity for charm that dovetails with Clift's public charm, and in Clift a man with the potential to discover and appreciate those hidden charms even though his overwhelming initial motivation is that of a male gold-digger. It's that vulnerable charm of Clift's that makes him much more than simply a cad. And Clift's subtle portrayal of that unexpected depth and vulnerability is what's so often missed by viewers. I think Clift was the greatest actor of his generation and the upwardly striving, vulnerable charmer role is suited for him perfectly (see his more famous performance in "A Place in the Sun"). It's that possibility that this imperfect man, for all his mercenary motives, might be de Havilland's best, though slight, hope to find a soul mate that makes that locked door between them at the end of the movie as tragic as it is.
Rating:
Summary: Watch closely
Review: "The Heiress" is William Wyler's screen adaptation of Henry James' novella, "Washington Square." For a modern viewer trained to seek out heros and villains in any story the structure of this film might be summarized thus: The insecure and none too bright young woman played by Olivia de Havilland does eventually get it through her thick skull that her father (played by Ralph Richardson) has a deep-seated contempt for her and that her suitor (played by Montgomery Clift) is after nothing but her fortune. Newly armed with this knowledge she is able to see her father's threat to disinherit her as the bluff it is and call him on it, and to close the door on Montgomery Clift's advances. Someone inclined to see the movie this way would thrill to our heroine's triumph over the two villainous men in her life while reserving a little sadness for the fact that she's resigned herself to a life of spinsterhood. The film is well worth watching even if you choose to read the film this way because the performances by the three principal actors are a beauty to behold (de Havilland won an Oscar for her performance) and Wyler's cinematic story telling techniques are so accomplished. For instance, watch Ralph Richardson open and close those pocket doors between rooms. It lets Wyler move seamlessly from cut to cut while appearing to maintain the flow of a long scene while at the same time suggesting Richardson's controlling nature. But a more careful look at the Clift and de Havilland characters is what gives this film the richness and subtlety of a five star movie. In the opening minutes of the film we see a short interchange between de Havilland and a servant in the household which reveals de Havilland to have a clever sense of humor. It's her insecurity with her father and with social situations with strangers that freezes her up and makes her appear much more dimwitted than she is. Likewise, shortly after Montgomery Clift appears at a party we see the revealing crack of insecurity in his facade of charm when he fetches de Havilland a drink and momentarilly thinks he's been ditched when he returns (nicely mirroring de Havilland's experience of being ditched by an earlier party companion). So what we see when we look closely is a woman with an insecure exterior who has an inner capacity for charm that dovetails with Clift's public charm, and in Clift a man with the potential to discover and appreciate those hidden charms even though his overwhelming initial motivation is that of a male gold-digger. It's that vulnerable charm of Clift's that makes him much more than simply a cad. And Clift's subtle portrayal of that unexpected depth and vulnerability is what's so often missed by viewers. I think Clift was the greatest actor of his generation and the upwardly striving, vulnerable charmer role is suited for him perfectly (see his more famous performance in "A Place in the Sun"). It's that possibility that this imperfect man, for all his mercenary motives, might be de Havilland's best, though slight, hope to find a soul mate that makes that locked door between them at the end of the movie as tragic as it is.
Rating: 
Summary: Constantly Surprising
Review: Clift and especially de Havilland's performances in this film have been much touted, and they have strong merits. However, the performances to watch this movie for are really those of Ralph Richardson and Miriam Hopkins. Wyler's direction is tightly controlled and de Havilland sometimes appears over-directed. Clift, on the other hand, seems under-directed, free, and is constantly startling. A bit out of place, at times a little off the mark, but very, very surprising...and very, very original. It is worth watching his early films (like Red River, The Heiress, I Confess and Indiscretion of an American Wife) to fully absorb the novelty of what he brought to the screen. His instincts, though not always dramatically of a piece, are nevertheless so unexpected that they may make him a real joy to watch on screen. The Copland score adds much to the film, and the scene in which Clift plays 'Plaisir d'Amour' to de Havilland and then walks over to her while she draws back (cowers?) on her sofa is very, very special. It fully represents the artistry of the cast and crew involved in making this film. The ending is remarkable. The story and characters are justly famous for their representation of the shyness of the character and her relationship with her family. It is to the credit of this film, that inspite of all it has in place to distract from the story and characters, they are what remain in the mind long after you are done watching the film. Highly recommended.
Rating:
Summary: In the hands of a skilled playwright...
Review: Copland's wonderful score for this film uses as a leitmotif the French classic chanson from the 18th century, Plaisir d'amour. It is this song that Clift sings to de Havilland while they are in the parlor. "Can't Help Falling in Love" has music certainly inspired by this French tune, but Copland too was inspired, esp since the tune is wonderful and the lyrics reflect the theme of the film: the joy of love lasts but a short time, the pain of love lasts all your life.
Rating:
Summary: In the hands of a skilled playwright...
Review: Henry James' _Washington Square_ is a much better story- don't bother reading the novel, you will certainly be disappointed! The film is pure art from start to finish- no unnecessary scenes or dialogue. Symbolism abounds including the final scene when Catherine performs a "phallic castration" with her scissors! Excellent film- a true classic.
Rating: 
Summary: AN EXCELLENT FILM (WITH RESERVATIONS)
Review: I certainly enjoyed "The Heiress," but I felt that the makeup artists fell down on the job when they made up Olivia DeHavilland. She is a very beautiful woman, and, as Catherine, who was supposed to be homelier than a hedge fence, Olivia was still beautiful. So, although Olivia is a great actress, she still didn't convince me (thanks to those who made her up for the role) that Catherine was plain and undesirable. I felt that Montgomery Clift was terribly miscast. He is, in my opinion, a very wooden actor. Why he was picked for the role I cannot imagine. I thought the remake "Washington Square" was a superior film in every way.
Rating:
Summary: excellent
Review: I own this video. I have watched it many, many times. I enjoyed the old world viewing. The most interested part ofcourse it Olivia de Havilland changes her character in the finally hour and confronts Mongomery Clift. Her character shows what changes can occur in anyone if put in this controlling situation. I only wish I could find more with this theme for further reading or viewing.
Rating:
Summary: Great ending!
Review: If you love great endings and have ever felt that someone treated you unfairly, you will love this movie. The supposed "simple minded" heiress turns out to be quite clever in the end. A tale of love, loss and revenge. Enjoyable and has a satisfying end!
Rating:
Summary: More than 5 stars!
Review: In the film's opening we meet clever, sweet and slightly plain Catherine. She is a lovely and touching individual but is relentlessly put down by her father, who never ceases to compare her to her dead mother, a woman he has idealized to such extremes that it is impossible for his daughter to measure up. As a result he is devoid of affection, of true caring, of genuine love for her. This is illustrated at the party in the film's early scenes, when we see a contrast between their relationship and that of Catherine's uncle and cousin, which is much more tender.
At the party Catherine meets Morris, who we learn is not much more than a cad who wants Catherine's money (or does he? There is a small degree of ambiguity). A week later the two are engaged, to the extreme displeasure of Catherine's father, who sees Morris for what he probably is. He denies them their marriage and wisks Catherine away to Europe. Is this because he truly loves her? Or because he is more concerned with making sure that this young man does not have any control over his money after he is gone? Probably the latter, as he then threatens to disown her should she carry out her marriage plans. Of course, once the naive Catherine tells Morris of this, his affections cool somewhat. He protests, desperately, that maybe her father will not disown her, that he might come around. But Catherine has changed. Her father has revealed to her that he does not really even like her, much less love her. So she responds to Morris with "Even if he does, I never will". She has begun to harden into the woman we see at the end of the film.
Morris never does come for her that night, or any night until years later, after Catherine's father has passed away without one more word from his daughter. She is now the heiress of a large, large fortune and as a result of her experience with two cruel men in her life has changed, hardened. One night, Morris returns to try to woo her once again. This time, however, Catherine is in charge of the situation. She leads Morris to believe that she will marry him and even gives him the ruby buttons she purchased for him in Paris years earlier. But when he comes back that night, he is greeted by a bolted door. We are left with the sound of his pounding and calling her name, as she ascends the stairs to her bedroom, finally vindicated.
What a sad, moving story this is. We see this extraordinary character arc, played so movingly by Olivia de Havilland. Catherine goes from a naive, ungraceful yet honest and sweet girl to a no-nonsense spinster. Perhaps the most chilling line is delivered once she has her maid bolt the door. She says "Yes, I can be very cruel. I've been taught by masters". Her metamorphosis is complete at this moment.
There are, however, moments of great beauty in this film, all the more heartbreaking and poignant once we know the true feelings behind them. The romantic encounters between Catherine and Morris, before his desertion, are tender and lovely. We see the uncertain joy on Catherine's face and hope for her sake that everyone is wrong about her intended. And in their final moments together as lovers we see the true conflict in Morris's features as he tries to convince Catharine that all is not over between her and her father.
The film raises various issues about the roles of women in the mid-19th century. It is fairly common knowledge that Morris is after Catherine's money, yet Catherine's aunt is still whole-heartedly in support of the union. She knows that without a husband her neice is valued at nothing. And when the aunt discovers that her neice was truthful about the split with her father, she says "Oh Catherine, if only you could have been a bit more clever". In other words, she should have kept quiet on the matter until after the nuptials. Her aunt is telling Catherine that she should have tricked Morris into marrying her, that she should have been clever enough to keep the truth from him until it was too late, that love was never a question but that marriage was the ultimate objective. I'm not sure how I feel about this exactly, only that these messages add another layer to the tragic story, a layer which tells us that Catherine was doomed from the start.
This movie is exquisite. The performances are top-notch all the way across the board. I love it and recommend it highly to any loved of classic cinema, and especially to anyone who loves Olivia de Havilland. Her performance is shattering.
Rating:
Summary: Superb
Review: Intelligent and dignified adaptation with masterful performance by Ralph Richardson. William Wyler both understood the original novel and the spirit of the era. Well done! (there is a "modern" remake called "Washington Square" which is shakey enough on its own but ghastly by comparison. Watch it for a good example of cinematic degeneration).
|
