Rating: 
Summary: Perhaps one of the finest screen performances ever
Review: The recent unsatisfying film adaptation of James' WASHINGTON SQUARE starring Jennifer Jason-Leigh only shows how wise William Wyler was to film the Goetz's stage version rather than retain James's original storyline. James's little novel about an Old New York heiress, Catherine Sloper caught in a tug-of-war between her heartless father and her fortune-hunting suitor (Morris Townsend) ends with a very Jamesian ending: Catherine learns to grow beyond her father's and Morris's petty battle, and in so doing shows her superiority to both of them. In adapting this novel for the stage, the Goetzes decided that such an ending (admittedly sublime on the printed page) would be hard to do onstage, and instead retain the Balzacian melodramatic air James drew upon by allowing Catherine her vengeance on father and Morris alike. The result is spellbinding. William Wyler crafted out of this melodrama one of the most hard-to-forget films of the Hollywood era, a masterful little exercise in emotional cruelty that has been championed by (among others) Martin Scorsese, who regularly lists it as one of tyhe five films that most influenced his own work.The sets are superb, and there's a lovely film score by Aaron Copland. But what really makes the film is the acting. There are only four major performers--Olivia De Havilland as Catherine, Sir Ralph Richardson as her father, Montgomery Clift as Morris, and Miriam Hopkins as Aunt Penniman--and all four give their best performances ever here; they seem to spur one another on to better work than you'd imagine them capable of doing. De Havilland is the one who most stands out: at first, though suitably old, she seems too beautiful to be effective as Catherine. But her fine portrayal of Catherine's crippling shyness makes her unattractiveness to both Morris and Dr. Sloper exceptionally believeable. When Catherine undergoes her awful education, De Havilland very bravelly allows herself to change a great deal so that while she's still Catherine you're aware of how radically she's changed. The highlight of the entire film is Catherine's showdown with her father, when she more than outmaneuvers him and utterly devastates him: De Havilland here does some of the acting the screen has ever seen. The scene begins with De Havilland's words "Morris jilted me," which she manages to deliver with about a hundred different levels of feeling, from shame at herself to almost bemused exasperation at Morris's shallowness to fury at her father. It ends with her dramatic (and surprisingly terrifying) declaration to her broken father, "That's it , Father--you'll never know, will you?", which leaves you aware not only of how thoroughly Catherine has beaten her father but at what a cost to her own soul. I can't imagine even one of the great stage actors doing more with this scene than De Havilland does. It's the performance of a lifetime.
Rating:
Summary: Among the Best Classic Films You Will Ever See.
Review: There are few black and white movies out there that can hold the interest of a younger audience, but this one will have no problem do that very thing. I first saw it 10 years ago on TCM at the beginning of my interest in period films and this one, I must say, gives a lot of the newer and more lavish ones a huge run for their money.
This story is so powerful to begin with as it relates to basic human relations in a way that most anyone can relate to: A plain girl is verbally abused by her domineering father, then falls in love with a charming cad who she is ultimately deceived by because he is after something else. In this case, the prize is money.
Olivia de Havilland's Catherine seems such a silly girl with a high pitched voice who is really more intelligent than she seems. It's just that her father's constant belittlement of her makes her tense and nervous in social situations. On top of this, he has her believing she is homely and has no redeemable qualities apart from her money. Her father is an extraordinarily cruel man, constantly comparing her to her deceased mother, and he becomes even more cruel when a young man named Morris (Montgomery Clift) takes a more than passive interest in her at a dance.
For all the constant disapproval of her father, Catherine still manages to believe that somebody as charming and handsome as Morris can love her for herself. In the face of such oppression, wouldn't you? Unfortunately for Catherine, who you really hope gets her Cinderella ending, her father proves to be right, and Morris conveniently disappears after she's informed him that her father has threatened her with disinheritance if she marries him. Not only that, but Morris disappears for years until he returns after learning her father has passed away.
The years, however, have changed our sweet, goodhearted, insecure Catherine into a woman full of anger, suspicion, and vengeance. This story really paints vividly how years of unrequited love can damage a person so that the most tragic victims end up victimizing themselves as well as others close to them. Maybe you've heard this story before, but you haven't seen it done with this quality, thanks to the brilliant direction of William Wyler. Quality is the key here--not just the lavish sets, costumes, and fine performances. It evokes all the right emotions in all the right places. For that reason, this is a movie you must see.
Rating:
Summary: WASHINGTON SQUARE
Review: This classic tale of unrequited love is excellent in every way with masterful performances by both de Havilland ( she won an Oscar ) and Richardson, who's astonishing to watch in a performance which approaches perfection. Catherine Sloper is a plain young woman in her mid - twenties who lives in a grand house with her stern unloving father and his flighty sister Lavinia. The setting is Washington Square, N.Y.C. of the 1850's. Catherine falls in love with Morris Townsend of whom her tyrannical father does not approve. Catherine waits for Morris to come and take her away and elope; prior to this she has told him that has been disinherited. When it's obvious that Townsend will not show up, Lavinia, brokenhearted for her neice says to her "Oh, Catherine, why couldn't you have been just little more clever?" De Havilland did not enjoy working with Richardson ( although she realised his greatness as an actor ) and later referred to him as "a wicked, cruel and selfish man". The apex of the film occurs when Townsend again comes for Catherine ( there's MONEY this time ). Morris bangs his fists at the door while Catherine bolts the door and mounts the stairs, her eyes perverse with satisfaction. This 1949 film won Oscars for De Havilland, Edith Head, (costumes) Aaron Copland (musical score) as well as two for best art production.
Rating:
Summary: "Just About As Good As It Gets"
Review: This film in its acting, direction, photography, and musical score is sheer perfection. The elegant haughtiness and razor-sharp wit of Ralph Richardson as Dr. Sloper enrich a characterization as polished as any of those that great actor ever gave. Olivia de Havilland for her part traces a grand arc, from the timid, cowering girl whose occasional sparks of wit and independence barely peep out to the ramrod-postured, acid-tongued, triumphantly self-possessed daughter "who has found her tongue at last." William Wyler's direction here turns every frame into a work of visual art. The opening out of James' tale to include a brilliantly witty, extended party sequence is a high point in screen adaptation. The glorious camera work in such scenes as those where the heroine and her aunt, sitting like figures in Greek tragedy, wait for Morris' arrival, the closing of parlor doors in the audience's face to terminate our presence at moments of intense private grief, and the images of the dreary flights of stairs the heroine must labor up in her misfortune, to have her on a level with their landings only
in the concluding shots - these linger in the memory as moments of classic cinema. Similarly, Aaron Copeland's score creates through authentic songs and dances the appropriate 19th Century background while underlining with original composition the moments of high romantic passion and rage.
The weaknesses of the film, in my view, stem directly from the stage adaptation of the James novella which in several places vulgarizes the story unduly. The film unfortunately reproduces these changes. Namely, we see a bitter Catherine who refuses to attend her father in his dying moments, a character far less stirring than the story's still dutiful, nursing daughter who nonetheless now makes clear to her too controlling father where his influence ends and her area of personhood begins. More important is the changed ending. Not to give this away, I'll simply point out that what was in James a story of the individual's education and growth is by this alteration reduced to a mere tabloid tale of vengefulness.
Nonetheless, as a film this work remains as one of the grand achievements. There was talk several years back of remaking it with Tom Cruise as Morris and having Mike Nichols as director. These worthies viewed the Wyler film and both decided a remake was unwise as they didn't see how they could improve on it. One wishes the director of the version that was remade had had the taste and intelligence of Cruise and Nichols.
Rating:
Summary: pleasure in the quiet details
Review: This is a movie of fine performances, controlled but graceful scenes, and revealing (at times heart-rendingly so) character interactions. In fact the nature of each character is primarily revealed through dialogue, except for one notable exception: Montgomery Clift as Morris Townsend. This character is simply an enigma. Just when I thought an assessment of him as fast-moving, essentially two-dimensional fortune hunter crystalized, I still got the feeling of subtlety lurking somewhere beneath. It may be the subtlety of a social predator, cold and single-minded, but it is beautiful to watch Clift as he allows the mask to slip just a bit in a few brief instances when he is left alone in a scene or two. Does he look about himself like a proud householder about to take possession of his property, and does he show some surprise that his plans are working so well and quickly? Olivia de Havilland deserves the highest praise for her rendering of Catherine Sloper's metamorphosis from awkward unself-aware victim to formidable avenging spinster. Her dramatic act of empowerment gives a sad satisfaction to the essentially tragic outcome. Sir Ralph Richardson turns in a performance that one would expect from a great actor of his stature; his character's sarcasm is a bit thick at times, but amusing. For those who might have been haunted by Clift's performance, I would highly recommend you see "A Place in the Sun", where he plays a villain of a darker sort. "The Heiress" is one of the finest films of all time, and gets richer with multiple viewings.
Rating:
Summary: Don't give away the ending
Review: This is an outstanding, suspenseful film which positively glows with De Havilland's best performance. Though she is paired with two brilliant actors, the gorgeous and young Monty Clift and Ralph Richardson, she more than holds her own in a stellar role. The sets and clothing are painstakingly accurate, the dialogue is straight out the 19th century and every movement, nuance and action is believable. This is like an authentic time machine back to the mid-1850's and deHavilland holds the production together as a mousy spinster turned vengeful, jilted lover. I won't give away the ending, which is as surprising and tautly suspenseful as anything Hitchcock pulled off. This is a film you can watch repeatedly and admire the mature screenplay and magnificent performances by the three leads. Highly recommended!
Rating:
Summary: They Don't Make 'Em Like This Anymore - An All Time Classic!
Review: This movie still amazes with each viewing, revealing its complexity and truthfulness about human nature and affairs of the heart. Olivia de Haviland deservedly won her second Best Actress Oscar for her subtle, layered and deeply moving performance. "The Heiress" was very typical of the movies being churned out by Hollywood at the time, this time by the expert hands of one of the "Masters", William Wyler. Anyone who has seen this film can well relate to the central character, Katherine. I am sure anyone who has ever been "dumped" by somebody in a romantic relationship or has experienced unreciprocated affections can well relate to Katherine and her devoted love to Morris, who represents the "cads" or "golddiggers" out there. Obviously when we first see Morris coming on to Katherine, we naturally want this relationship to work. Unfortunately it only affirms to the "jaded cynical bunch" that love has a price tag attached to it. The final scene is very heartbreaking to watch and hear as we listen to the loud bangs symbolizing pounding on the heart of Katherine, who has decided from her heartbreak to lock her door once and for all. The film also touches on the mental cruelty sometimes in parent/child relationships, and the power of pain a parent can inflict upon their child. Sometimes words can hurt more than physical pain, in this case, Katherine represents those out there who have experienced the inflicted mental pain their parents have caused. Such a great film to cherish and view over and over again. It's unfortunate that Hollywood is definitely a very different town compared to over 40 years ago when the story and acting mattered most instead of guns, explosions or weekend box office grosses. "The Heiress" is a keeper for film buffs everywhere and for those who crave filmmaking at its very best. Bravo to Wyler and his talented cast for pulling this one off with flying colors !
Rating:
Summary: They Don't Make 'Em Like This Anymore - An All Time Classic!
Review: This movie still amazes with each viewing, revealing its complexity and truthfulness about human nature and affairs of the heart. Olivia de Haviland deservedly won her second Best Actress Oscar for her subtle, layered and deeply moving performance. "The Heiress" was very typical of the movies being churned out by Hollywood at the time, this time by the expert hands of one of the "Masters", William Wyler. Anyone who has seen this film can well relate to the central character, Katherine. I am sure anyone who has ever been "dumped" by somebody in a romantic relationship or has experienced unreciprocated affections can well relate to Katherine and her devoted love to Morris, who represents the "cads" or "golddiggers" out there. Obviously when we first see Morris coming on to Katherine, we naturally want this relationship to work. Unfortunately it only affirms to the "jaded cynical bunch" that love has a price tag attached to it. The final scene is very heartbreaking to watch and hear as we listen to the loud bangs symbolizing pounding on the heart of Katherine, who has decided from her heartbreak to lock her door once and for all. The film also touches on the mental cruelty sometimes in parent/child relationships, and the power of pain a parent can inflict upon their child. Sometimes words can hurt more than physical pain, in this case, Katherine represents those out there who have experienced the inflicted mental pain their parents have caused. Such a great film to cherish and view over and over again. It's unfortunate that Hollywood is definitely a very different town compared to over 40 years ago when the story and acting mattered most instead of guns, explosions or weekend box office grosses. "The Heiress" is a keeper for film buffs everywhere and for those who crave filmmaking at its very best. Bravo to Wyler and his talented cast for pulling this one off with flying colors !
Rating:
Summary: E-mail me if you agree. (That's not supposed to rhyme).
Review: This was an incredible film for me on a personal level, although from an aesthitic point of view, of course, there have been better films. (Anything Orson Welles or Stanley Kubrick directed will have considerable artistic merit). But when I saw Montgomery Clift, with that definitive voice that I really can't describe, and those broad shoulder and thin torso in period clothes that suited him to perfection. (I know I'm not writing real sentences, by the way). And when he turned so that you only saw a fraction of his face and all that was revealed were extremely hollowed cheeks. And his straight nose and bright eyes under dark brows and hiw broad forehead. He was so attractive. Of course, the story was bittersweet and it made my heart ache, Olivia de Havilland was perfect, as she always is in these roles. Anyway it is a very good film from any perspective.
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