RSS Feed

Tag Archives: Mady Christians

Letter From an Unknown Woman (April 28, 1948)

The key to Max Ophüls’s Letter From an Unknown Woman lies, simply enough, in its title. No matter how rapturous or romantic the proceedings get, the title of the film will nag at viewers’ minds. We know what is coming, even if we’re not fully conscious that we know.

Letter From an Unknown Woman takes place mostly in Vienna around the turn of the 20th century. It tells the story of a love affair between a young woman, Lisa Berndle (Joan Fontaine), and a concert pianist, Stefan Brand (Louis Jourdan).

When the film begins, Stefan is coming home in a carriage. He appears dissolute and wasted. He is to fight a duel in the morning, and he’s more upset that he’ll have to get up early than he is about possibly being killed.

In his apartment, a letter awaits him from Lisa, his old love. In the letter she recalls the stages of her life with him, beginning with girlish obsession, moving on to a more mature love affair, and finally … the end of it all.

Through it all we see Stefan, a brilliant and temperamental musician, experience his own journey of love with Lisa, albeit a more selfish one.

Like his fellow German expatriate director Douglas Sirk, Ophüls has a love of beautiful costumes, sumptuous set design, and moments of beautiful whimsy. One scene in Letter From an Unknown Woman begins with Lisa and Stefan sitting in a train compartment, having a conversation. The moving background outside the train’s window looks almost ridiculously fake until the full scene is revealed to the viewer. They are at a carnival, and an old man on a bicycle is making the painted backgrounds scroll past their window. He even has a wooden train whistle he blows as they stop at each new “station.”

Letter From an Unknown Woman is based on a story by Stefan Zweig, with a screenplay by Howard Koch. It’s a meditation on love, memory, and loss that I really liked, but didn’t completely love, although I suspect that repeating viewings might reveal added layers.

Advertisements

All My Sons (March 27, 1948)

All My Sons was not Arthur Miller’s first play, but it was his first success, and the work that put him in the public eye. He won a Tony Award for best author and the play’s director, Elia Kazan, won the Tony for best direction of a play. All My Sons ran on Broadway, at the Coronet Theatre, from January to November 1947 for a total of 328 performances. It starred Ed Begley, Beth Miller, Arthur Kennedy, and Karl Malden.

Irving Reis’s film version premiered in New York on March 27, 1948, and went into wide release in April.

All My Sons stars Edward G. Robinson as Joe Keller, the owner of a factory that made airplane parts during World War II. His partner and former next-door neighbor, Herbert Deever, went to prison for shipping faulty cylinder heads.

The defective parts caused the deaths of 21 airmen, but Joe Keller was exonerated of any wrongdoing in court. (In the original play, Keller’s partner is called “Steve Deever,” and he never appears on stage. In the film, Herbert Deever is played by Frank Conroy in a dark and emotionally wrenching scene in which one of the main characters goes to visit him in prison.)

Joe Keller’s son Larry’s plane went down in the Pacific during the war. Larry was declared MIA, but Joe’s wife Kate (Mady Christians) refuses to believe her son is dead, and keeps everything in Larry’s bedroom the same as the day he shipped out. All his suits are hanging in the closet and all his shoes are shined.

When the film begins, Joe and Kate’s other son, Chris (Burt Lancaster), who also served in World War II, is attempting to mend fences with Ann Deever (Louisa Horton), the girl he wants to marry. Ann and Chris love each other, but several obstacles stand between them. Not only is she the daughter of Joe Keller’s disgraced and imprisoned former partner, but she used to be Larry’s girl, and Chris won’t be able to get his parents’ blessing while his mother still holds out hope that Larry is alive somewhere. “You marry that girl and you’re pronouncing him dead,” Joe Keller shouts at Chris. “You’ve no right to do that!”

I find Robinson an odd choice, physically at least, to play Lancaster’s father. He’s about the right age — 20 years older than Lancaster — but the two men couldn’t look more different. Aside from this quibble, however, Robinson is perfectly cast. His bluster and bonhomie cover up a deep well of guilt that slowly, over the course of the film, bubbles to the surface.

Movies based on plays can suffer from a sense of artificiality, but All My Sons is a perfect example of how to adapt a play for the screen. While the dialogue is pretty heavy on exposition for the first reel, it never feels stagey or bound to a single location. Small changes like the addition of Herbert Deever as a speaking character help make the film work as a cinematic experience, and Russell Metty’s dark, atmospheric cinematography and Leith Stevens’s effective musical score really tie everything together.