“BLANCHE FURY” (1948) Review
I suspect that many fans of costume dramas would be fascinated to know about the series of period dramas released by the British film industry during the post-World War II era. A good number of those films were released by a British film studio known as Gainsborough Pictures. But not all of them were released through this particular studio. Some were released through other studios or production companies . . . like the 1948 period drama, “BLANCHE FURY”.
Based upon the 1939 novel written by Marjorie Bowen (under the pseudonym of Joseph Stearling), “BLANCHE FURY” told the story of two lovers during the 1850s, who become embroiled in adultery, greed and murder. More importantly, Bowen’s novel and the movie was inspired by a real-life case involving the 1848 murder of an estate owner and his adult by a tenant farmer trying to stave off a bad mortgage. The story surrounding “BLANCHE FURY” proved to be a bit more complicated and melodramatic.
The story begins with a beautiful impoverished gentlewoman named Blanche Fuller, who is forced to serve as a domestic companion for a wealthy woman (think of Joan Fontaine in 1940’s “REBECCA”). To Blanche’s great relief, she receives an invitation to become governess for the granddaughter of her rich uncle Simon Fuller. Upon her arrival, Blanche becomes romantically involved with Simon’s only son, the weak-willed Laurence. She learns that her uncle and cousin have assumed the surname of Fury, which belonged to the previous owner of the estate, the late Adam Fury. She also meets Philip Thorn, Adam’s illegitimate son, who serves as the estate’s head groom and resents Simon and Laurence’s possession of his father’s estate. Blanche decides to marry Laurence for the sake of security and wealth, but becomes dissatisfied with her marriage. She and Philip also fall in love and quickly drifts into a sexual affair. Longing for possession of both Blanche and the estate, Philip drags Blanche into a plot that leads to double murder.
The first thing that caught my attention about “BLANCHE FURY” that it is a beautiful looking film. Producer Anthony Havelock-Allan, director Marc Allégret and cinematographers Guy Green and Geoffrey Unsworth really made use of the Technicolor process. And if I must be brutally honest, I could say the same for the costumes designed by Sophie Devine, who created some colorful outfits for leading lady, Valerie Hobson, as shown below:
Despite my admiration for the photography and costumes, I was not that impressed by the set designs and especially the production designs. Well . . . let me take some of that back. I had no problems with John Bryan’s production designs for scenes featured in smaller rooms – Philip’s quarters and a private bedroom or two. But I was not impressed by scenes in large rooms – you know, the drawing room, foyer or library of the Fury manor. Quite frankly, these “sets” resembled badly made matte paintings instead of lived-in rooms. Lifeless. An individual museum room with a collection of paintings looked warmer.
But I certainly had no problems with the story. The latter begins with Blanche in the process of giving birth before it flashes back to her days as a paid companion. Thanks to the screenplay written by Audrey Erskine-Lindop and Cecil McGivern, audiences received several glimpses into Blanche’s mindset – her frustrations as a paid companion and later, as wife to the weak-willed Laurence Fury; her sexual fascination with Philip Thorn and the later realization that she had bitten off more than she could chew, thanks to Philip’s murder plot. For me, the most memorable scene in the entire movie featured an argument between the unfaithful Blance and the arrogant Laurence, who had insisted that she interrupt her rest to entertain a guest who had arrived with him and his father in the late evening. Blanche’s blatant refusal to blindly obey her husband nearly caused me to stand up and cheer, despite the fact she had spent the last 24 hours cheating on him with Philip. I had an easier time understanding Blanche than I did Philip. He seemed to have this attitude that the Fury estate should have been given to him, despite being born on the wrong side of the blanket. And the fact that he was willing to destroy the Fuller-Fury clan (with the exception of Blanche), including Laurence’s young daughter, left me feeling cold toward him in the end.
“BLANCHE FURY” featured some very solid performances, despite a penchant for some of the cast to nearly drift into slightly hammy acting. I could never accuse Valerie Hobson of overacting. Mind you, her performance did not exactly knock my socks off, but I thought she did a pretty job. Her best moments proved to be the Blanche/Laurence quarrel and Blanche’s horror over Philip’s arrogant behavior following the deaths of her husband and father-in-law. I had recently come across an article suggesting that Stewart Granger was not exactly the most skillful actor. Recalling his performances in movies like “KING SOLOMON’S MINES”, “SCARAMOUCHE” and “BHOWANI JUNCTION”, I found this opinion hard to accept. But a part of me could not help but noticed that his performance in “BLANCHE FURY” – especially in the movie’s last half hour – threatened to wander in the realm of the melodramatic. Otherwise, I found his performance satisfactory. Michael Gough fared just as well as Miss Hobson as Laurence Fury – especially in the memorable Blanche/Laurence quarrel scene. Though, there were moments when I thought he would go a little overboard. Sybille Binder, who portrayed the Furys’ stoic housekeeper Louisa was just that . . . stoic. I thought she would play a major role in the movie. But in the end, I felt that her time was more or less wasted. Susanne Gibbs made a very charming Lavinia Fury, Laurence’s young daughter. But I thought the best performance came from Walter Fitzgerald, who portrayed Blanche’s no-nonsense uncle (later, father-in-law) Simon Fury. I found it rather interesting that Fitzgerald could portray such a blunt character with great subtlety. He seemed to be the only cast member who did not threatened to become melodramatic.
I may have had a few problems with “BLANCHE FURY”. But if I must be honest, I found it entertaining and rather satisfying. Thanks to Marc Allégret’s direction, Audrey Erskine-Lindop and Cecil McGivern’s entertaining screenplay, Guy Green and Geoffrey Unsworth’s photography and a solid cast led by Valerie Hobson and Stewart Granger, I found the movie more than satisfying.