Top Ten Favorite Movies Set in the 1870s

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Below is my current list of favorite movies set in the 1870s:

TOP TEN FAVORITE MOVIES SET IN THE 1870s

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1. “The Age of Innocence” (1993) – Martin Scorcese directed this exquisite adaptation of Edith Wharton’s award winning 1920 novel about a love triangle within New York’s high society during the Gilded Age. Daniel Day-Lewis, Michelle Pfieffer and Oscar nominee Winona Ryder starred.

 

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2. “The Big Country” (1958) – William Wyler directed this colorful adaptation of Donald Hamilton’s 1958 novel, “Ambush at Blanco Canyon”. The movie starred Gregory Peck, Jean Simmons, Carroll Baker and Charlton Heston.

 

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3. “True Grit” (2010) – Ethan and Joel Coen wrote and directed this excellent adaptation of Charles Portis’ 1968 novel about a fourteen year-old girl’s desire for retribution against her father’s killer. Jeff Bridges, Matt Damon and Hattie Steinfeld starred.

 

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4. “Far From the Madding Crowd” (2015) – Carey Mulligan, Matthias Schoenaerts, Tom Sturridge and Michael Sheen starred in this well done adaptation of Thomas Hardy’s 1874 novel about a young Victorian woman who attracts three different suitors. Thomas Vinterberg directed.

 

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5. “Around the World in 80 Days” (1956) – Mike Todd produced this Oscar winning adaptation of Jules Verne’s 1873 novel about a Victorian gentleman who makes a bet that he can travel around the world in 80 days. Directed by Michael Anderson and John Farrow, the movie starred David Niven, Cantiflas, Shirley MacLaine and Robert Newton.

 

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6. “Stardust” (2007) – Matthew Vaughn co-wrote and directed this adaptation of Neil Gaman’s 1996 fantasy novel. The movie starred Charlie Cox, Claire Danes and Michelle Pfieffer.

 

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7. “Fort Apache” (1948) – John Ford directed this loose adaptation of James Warner Bellah’s 1947 Western short story called “Massacre”. The movie starred John Wayne, Henry Fonda, John Agar and Shirley Temple.

 

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8. “Zulu Dawn” (1979) – Burt Lancaster, Simon Ward and Peter O’Toole starred in this depiction of the historical Battle of Isandlwana between British and Zulu forces in 1879 South Africa. Douglas Hickox directed.

 

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9. “Young Guns” (1988) – Emilio Estevez, Kiefer Sutherland and Lou Diamond Phillips starred in this cinematic account of Billy the Kid’s experiences during the Lincoln County War. The movie was directed by Christopher Cain.

 

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10. “Cowboys & Aliens” (2011) – Jon Favreau directed this adaptation of Scott Mitchell Rosenberg’s 2006 graphic novel about an alien invasion in 1870s New Mexico Territory. The movie starred Daniel Craig, Harrison Ford and Olivia Wilde.dom

“DODSWORTH” (1936) Review

“DODSWORTH” (1936) Review

I might as well place my cards on the table. William Wyler has been one of my favorite Old Hollywood directors for as long as I can remember. One particular movie that had impressed me as a teenager and a woman in my 20s was his 1936 film, “DODSWORTH”. However, a good number of years had passed since I last saw it. Realizing this, I decided to view the movie again for a new assessment.

Based upon Sinclair Lewis’ 1929 novel and Sidney Howard’s 1934 stage adaptation, “DODSWORTH” tells the story of a Midwestern auto tycoon named Sam Dodsworth, who decides to sell his auto manufacturing plant and retire at the urging of his wife Fran. Feeling trapped by their small-town social life, Fran also convinces Sam to start off his retirement with a trip to Europe. Sam comes to regard the trip as an opportunity to see the sights. Fran has different ideas. She views the trip as an opportunity to escape her Midwestern life and enjoy the pleasures of European high society. She manages to achieve this with a succession of European Lotharios by her side. The different desires and expectations of the pair eventually fractures their marriage for good.

When all is said and done, “DODSWORTH” is basically a portrait of a failing marriage. A part of me wondered why“DODSWORTH” had never been filmed during Hollywood’s pre-Code era. Sinclair Lewis’ tale seemed aptly suited for that particular period in film history. I tried to remember how many movies I have seen or heard about a failing marriage and divorce and realized they were few in numbers. Another aspect of “DODSWORTH” I found interesting was director William Wyler and screenwriter Sidney Howard’s attempt to portray the Dodsworths’ marital breakup with as much maturity as possible. One could easily blame the Fran Dodsworth for the marriage’s eventual failure, due to the character’s vanity, infatuation with European high society and infidelity. But I read somewhere that both Wyler and Howard (especially the former) went out of their way to portray Fran with as much sympathy and complexity as possible – especially in the movie’s first half.

I do believe that Wyler, Howard and the movie’s cast did an excellent job in their attempt to create a realistic and mature film. I found scenes in the film that seemed to exemplify this attempt at mature melodrama. They include Ruth’s embarassing last conversation with Captain Clyde Lockert, the good-looking British Army officer she had flirted with aboard the ocean liner that took her and Sam to Europe; the Dodsworths’ last conversation before Sam returns to the U.S.; and their frank conversation about Fran’s affair with aging playboy Arnold Iselin upon Sam’s return to Europe. But the two best scenes – well shot by Wyler and superbly performed – featured Fran’s even more embarassing encounter with Baroness Von Obersdorf, the elderly mother of the young Baron Kurt Von Obersdorf, whom she wished to marry; and Sam and Fran’s last moment together in which the former decides to end their marriage permanently. Watching this movie, it was easy for me to see why “DODSWORTH” managed to earn seven Academy Award nominations – including a Best Director nomination for William Wyler and one for Best Picture.

Two of those nominations were for technical achievements. Richard Day not only earned a nomination for the movie’s art direction, he also won. And I could see why, especially in the images below:

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Day’s work seemed to feature a clean, yet stylish look that was evocative of the Art Deco period of the 1920s and 30s.

At least two cast members earned Oscar nominations for their performances. Walter Huston earned a well-deserved nomination for his natural and down-to-earth portrayal of the very likeable and mature retired tycoon, Sam Dodsworth. A surprising Best Supporting Actress nomination was given to Maria Ouspenskaya in a small role as Baroness Von Obersdorf, the woman whom Fran Dodsworth hoped to call “mother-in-law”. I cannot deny that Ouspenskaya was very effective as the frank and no-nonsense German aristocrat who crushed Fran’s dreams of marriage to the younger Kurt Von Obersdorf. But I rather doubt if I would have considered her for an Oscar nomination. The movie also featured competent performances from Mary Astor, Kathryn Marlowe, John Payne, Spring Byington and Gregory Gaye. The two more memorable performances – at least for me – came from a young David Niven as the well-born British Army officer, who teaches Fran a lesson about flirtation and Paul Lukas as the much older Lothario, Arnold Iselin, who seemed amused by the chaos he causes within the Dodsworth marriage. But for me, Ruth Chatterton gave the best performance in the film. Despite the negative manner in which her character was written, her portrayal of the vain Fran Dodsworth provided the film with backbone, drive and a great deal of first-rate drama. “DODSWORTH” would be nothing without the Fran Dodsworth character . . . and Chatterton’s superb performance. And yet . . . the actress did not receive an Academy Award nomination.

In the end, “DODSWORTH” is a very well made movie. Actually, it is quite superbly made. I can see why it earned those seven Oscar nominations. But despite the excellent direction, acting and writing .. . I ended up hating this film. I hated the unbalanced portrayal of the Dodsworth marriage. I hated how the story placed all of the blame for the marriage’s failure on Fran. If Wyler was trying to portray Fran in a more flexible light, he and Sidney Howard failed miserably in the end. I hated how Howard’s screenplay portrayed Fran’s flaws in a serious light, whereas Dodsworth’s flaws – namely his own penchant for self-absorption at home – was portrayed as comic relief. I hated the fact that Sam Dodsworth ended up with a younger and more beautiful woman who seemed to be portrayed as an ideal woman, despite her divorce status. I especially hated the fact that Dodsworth was portrayed as a nearly ridiculously idealized character – the self made man who still adhered to good old-fashioned American values, while Fran was portrayed as an incredibly flawed woman who had failed to live up to American society’s ideal of a married woman.

I realize there are many women moviegoers who really enjoyed this film. But this is one woman who disliked it. And “DODSWORTH” might be one of the few William Wyler films I may never have a desire to watch again.

Top Favorite WORLD WAR I Movie and Television Productions

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July 28, 2014 marked the 100th anniversary of the beginning of World War I.  Below is a list of my favorite movie and television productions about the war:

 

TOP FAVORITE WORLD WAR I MOVIE AND TELEVISION PRODUCTIONS

1 - Paths of Glory

1. “Paths of Glory” (1957) – Stanley Kubrick directed Kirk Douglas in this highly acclaimed anti-war film about French soldiers who refuse to continue a suicidal attack. Ralph Meeker, Adolphe Menjou and George Macready co-starred.

 

2 - Lawrence of Arabia

2. “Lawrence of Arabia” (1962) – David Lean directed this Oscar winning film about the war experiences of British Army officer T.E. Lawrence. The movie made stars of Peter O’Toole and Omar Sharif.

 

3 - All Quiet on the Western Front

3. “All Quiet on the Western Front” (1930) – Lew Ayres starred in this Oscar winning adaptation of Erich Maria Remarque’s 1929 novel about the experiences of a German Army soldier during World War I. Lewis Milestone directed.

 

4 - The Young Indiana Jones Chronicles

4. “The Young Indiana Jones Chronicles” (1992-1993) – George Lucas created this television series about Indiana Jones’ childhood and experiences as a World War I soldier. Sean Patrick Flannery and Corey Carrier, George Hall
and Ronny Coutteure starred.

 

5 - Gallipoli

5. “Gallipoli” (1981) – Peter Weir directed this acclaimed historical drama about two Australian soldiers and their participation in the Gallipoli Campaign. The movie starred Mark Lee and Mel Gibson.

 

6 - The Dawn Patrol 1938

6. “The Dawn Patrol” (1938) – Errol Flynn and David Niven starred in this well made, yet depressing remake of the 1930 adaptation of John Monk Saunders’ short story, “The Flight Commander”. Directed by Edmund Goulding, the movie co-starred Basil Rathbone.

 

7 - La Grande Illusion

7. “La Grande Illusion” (1937) – Jean Renoir co-wrote and directed this highly acclaimed war drama about French prisoners-of-war who plot to escape from an impregnable German prisoner-of-war camp. Jean Gabin starred.

 

8 - Shout at the Devil

8. “Shout at the Devil” (1976) – Lee Marvin and Roger Moore starred as two adventurers in this loose adaptation of Wilbur Smith’s novel, who poach ivory in German controlled East Africa on the eve of World War I. Directed by Peter Hunt, the movie co-starred Barbara Parkins.

 

9 - Biggles - Adventures in Time

9. “Biggles: Adventures in Time” (1986) – Neil Dickson and Alex Hyde-White starred in this adventure fantasy about an American catering salesman who inadvertently travels through time to help a British Army aviator during World War I. John Hough directed.

 

10 - A Very Long Engagement

10. “A Very Long Engagement” (2004) – Jean-Pierre Jeunet wrote and directed this very long romantic war drama about a young French woman’s search for her missing fiancé who might have been killed in the Battle of the Somme, during World War I. Audrey Tautou starred.

Top Ten Favorite Movies Set in the 1850s

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Below is my current list of favorite movies set in the 1850s:

 

TOP TEN FAVORITE MOVIES SET IN THE 1850s

1-Django Unchained

1. “Django Unchained” (2012) – Quentin Tarantino directed this Oscar winning tale about a newly freed slave who searches for his still enslaved wife with the help of a German-born bounty hunter in Mississippi. Jamie Foxx, Christoph Waltz, Leonardo DiCaprio and Samuel L. Jackson starred.

 

2-The Charge of the Light Brigade

2. “The Charge of the Light Brigade” (1938) – Errol Flynn and Olivia De Havilland starred in this exciting adventure story set in both British India and the Crimean War. Michael Curtiz directed.

 

3-Race to Freedom The Underground Railroad

3. “Race to Freedom: The Underground Railroad” (1994) – Courtney B. Vance and Janet Bailey starred in this television drama about the adventures of four slaves who escape from a North Carolina plantation, while being tracked by a pair of slave catchers. Don McBrearty directed.

 

4-Skin Game

4. “Skin Game” (1971) – James Garner and Lou Gossett Jr. starred in this dark comedy about a pair of con artists who clean up in a slave selling scheme in Missouri and Kansas, before their scam finally catches up with them. Paul Bogart directed.

 

5-Seven Brides For Seven Brothers

5. “Seven Brides For Seven Brothers” (1954) – Stanley Donen directed this famous 1954 musical about six backwoodsmen brothers When a backwoodsman in the Oregon Territory, who decides to marry after their oldest brother brings home a wife. Jane Powell, Howard Keel and Russ Tambyln starred.

 

6-The First Great Train Robbery

6. “The First Great Train Robbery” (1979) – Michael Crighton wrote and directed this adaptation of his novel about three Victorian criminals who plot to rob a shipment of gold for British troops serving during the Crimean War, from a moving train. Sean Connery, Donald Sutherland and Lesley Anne Down starred.

 

7-Wuthering Heights

7. “Wuthering Heights” (1939) – William Wyler directed this superb adaptation of Emily Brontë’s 1847 novel. Merle Oberon, Laurence Olivier and David Niven starred.

 

8-Westward the Women

8. “Westward the Women” (1951) – William Wellman directed this excellent Western-adventure about a trail guide hired by a Californian rancher to escort a wagon train of women heading west to marry men who have settled in the rancher’s valley. Robert Taylor, Denise Darcel and John McIntire starred.

 

9-Mountains of the Moon

9. “Mountains of the Moon” (1990) Patrick Bergin and Iain Glen starred in this historical account of Victorian explorers Richard Burton and John Hanning Speke’s expedition to find the source of the Nile River on behalf of the British Empire. Bob Rafelson directed.

 

10-Jezebel

10. “Jezebel” (1938) – William Wyler directed Oscar winners Bette Davis and Fay Bainter in this adaptation of Owen Davis Sr.’s 1933 play about a headstrong Southern woman, whose actions cost her the man she loves. Henry Fonda and George Brent co-starred.

“THE PRISONER OF ZENDA” (1937) Review

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“THE PRISONER OF ZENDA” (1937) Review

I realize that many film critics and fans would agree with my suspicion that the 1930s saw a great deal of action films released to theaters. In fact, I believe there were as high number of actions films released back then as they are now. Among the type of action films that flourished during that era were swashbucklers. 

One of the most famous Hollywood swashbucklers released during the 1930s was “THE PRISONER OF ZENDA”, producer David O. Selznick’s 1937 adaptation of Anthony Hope’s 1894 novel. This tale of middle European political intrigue and identity theft has been either remade or spoofed countless of times over the years. One of the most famous spoofs included George MacDonald Fraser’s 1970 Flashman novel called “Royal Flash”. But if one asked many moviegoers which adaptation comes to mind, I believe many would point out Selznick’s 1937 movie.

Directed by John Cromwell, the movie began with Englishman Rudolf Rassendyll’s arrival in the kingdom of Ruritania in time for the coronation of its new king, Rudolf V. The English visitor’s looks attract a great deal of attention from some of the country’s populace and eventually from the new king and the latter’s two aides. The reason behind this attention is due to the fact that not only are the Briton and the Ruritanian monarch are distant cousins, they can also pass for identical twins. King Rudolf invites Rassendyll to the royal hunting lodge for dinner with him and his aides – Colonel Sapt and Captain Fritz von Tarlenheim. They celebrate their acquaintance by drinking late into the night. Rudolf is particularly delighted with the bottle of wine sent to him by his half-brother, Duke Michael, and drinks it all himself. The next morning brings disastrous discoveries – the wine was drugged and King Rudolf cannot be awakened in time to attend his coronation. Fearing that Duke Michael will try to usurp the throne, Colonel Zapt convinces a reluctant Rassendyll to impersonate Rudolf for the ceremony.

While watching “THE PRISONER OF ZENDA”, it became easy for me to see why it has become regarded as one of the best swashbucklers of the 1930s. Selznick, its array of credited and uncredited screenwriters, and director John Cromwell did an excellent job of transferring Anthony Hope’s tale to the screen. This certainly seemed to be the case from a technical point-of-view. Selznick managed to gather a talented cast that more than did justice to Hope’s literary characters. The movie also benefited from Alfred Newman’s stirring score, which received a well deserved Academy Award nomination. Lyle R. Wheeler received the first of his 24 Academy Award nominations for the movie’s art designs, which exquisitely re-created Central Europe of the late 19th century. His works was enhanced by Jack Cosgrove’s special effects and the photography of both James Wong Howe and an uncredited Bert Glennon. And I was very impressed by Ernest Dryden’s re-creation of 1890s European fashion in his costume designs.

The performances featured in “THE PRISONER OF ZENDA” struck me as outstanding. Not only was Mary Astor charming as Duke Michael’s mistress, Antoinette de Mauban, she also did an excellent job in conveying Mademoiselle de Mauban’s love for Michael and her desperation to do anything to keep him safe for herself. C. Aubrey Smith gave one of his better performances as the weary and level-headed royal aide, Colonel Sapt, whose love for his country and the throne outweighed his common sense and disappointment in his new king. David Niven gave the film its funniest performance as junior royal aide, Captain Fritz von Tarlenheim. Not only did I find his comedy style memorable, but also subtle. Raymond Massey’s performance as King Rudolf’s illegitimate half-brother, Duke Michael, struck me as very interesting. On one hand, Massey smoldered with his usual air of menace. Yet, he also did an excellent job of conveying Michael’s resentment of his illegitimate status and disgust over his half-brother’s dissolute personality.

However, I feel that the best performances came from Ronald Colman, Madeleine Carroll and Douglas Fairbanks, Jr. I read that the latter originally wanted the dual roles of Rassendyll and King Rudolf . . . and was disappointed when Colman won the roles. But he received advice from C. Aubrey Smith to accept the Rupert of Hentzau role, considered the best by many. Smith proved to be right. Fairbanks gave the best performance in the movie as the charming and witty villain, who served as Duke Michael’s main henchman, while attempting to seduce the latter’s mistress. Madeleine Carroll could have easily portrayed Princess Flavia as a dull, yet virtuous beauty. Instead, the actress superbly portrayed the princess as an emotionally starved woman, who harbored resentment toward her royal cousin Rudolf for years of his contemptuous treatment toward her; and who blossomed from Rassendyll’s love. Although I believe that Fairbanks Jr. gave the movie’s best performance, I cannot deny that Ronald Colman served as the movie’s backbone in his excellent portrayals of both Englishman Rudolf Rassendyll and Ruritania King Rudolf V. Without resorting to any theatrical tricks or makeup, Colman effortlessly portrayed two distant cousins with different personalities. “THE PRISONER OF ZENDA” marked the third movie I have seen starring Colman. I believe I am finally beginning to realize what a superb actor he truly was.

Before my raptures over “THE PRISONER OF ZENDA” get the best of me, I feel I have to point out a few aspects of the movie that I found troubling. Selznick International released three movies in 1937. Two of them had been filmed in Technicolor and one, in black-and-white. I do not understand why Selznick had decided that “THE PRISONER OF ZENDA” would be the only one filmed in black-and-white. This movie practically begged for Technicolor. Surely he could have allowed either “A STAR IS BORN” or “NOTHING SACRED” in black-and-white. For a movie that is supposed to be a swashbuckler, it seemed to lack a balanced mixture of dramatic narrative and action. During my viewing of the movie, I noticed that aside from Colonel Sapt forcing the royal lodge’s cook, Frau Holf, into drinking the rest of the drugged wine; there was no real action until past the movie’s mid-point. And speaking of the action, I found it . . . somewhat tolerable. The minor sequence featuring Rupert’s first attempt at killing Rassendyll, the latter’s efforts to save King Rudolf from assassination at Duke Michael’s castle near Zenda, and the charge led by Sapt at the castle struck me as solid. But I found the sword duel between Rassendyll and Rupert rather disappointing. Both Colman and Fairbanks spent more time talking than fighting. I found myself wondering if the constant conversation was a means used by Cromwell to hide the poor choreography featured in the sword fight.

I do not think I would ever view “THE PRISONER OF ZENDA” as one of my favorite swashbucklers of all time. But despite some of the disappointing action sequences, I still believe that its drama and suspense, along with a superb cast led by Ronald Colman, made it a first-rate movie and one of the best produced by David O. Selznick.

“WUTHERING HEIGHTS” (1939) Review

 

“WUTHERING HEIGHTS” (1939) Review

Considering the popularity of the Brontë sisters, it is not surprising that there have been considerable movie, stage and television adaptations of their novels. I discovered there have been at least fifteen (15) adaptations of Emily Brontë’s 1847 novel, “Wuthering Heights”.

I might as well be frank . . . I am not a major fan of the novel. I never have been. I do not dislike it, but I have always preferred the famous novels of the author’s two sisters – namely “Jane Eyre” (1847) by Charlotte Brontë and Anne Brontë’s 1848 novel, “The Tenant of Wildfell Hall”. For some reason, “Wuthering Heights” depresses the hell out of me. I have nothing against works of fiction laced with tragedy. But the heavy barrage of emotional and physical abuse, revenge, and over-the-top passion has always seemed a bit too much for me. Due to my less-than-enthusiastic regard for Ms. Brontë’s novel, I have always been reluctant to watch any of the television or movie adaptations, with the exception of one – the 1939 movie produced by Samuel Goldwyn.

Directed by William Wyler, and starring Merle Oberon and Laurence Olivier; “WUTHERING HEIGHTS” told the story of the passionate and doomed love story between one Catherine Earnshaw, the daughter of a Yorkshire landowner and an orphaned Gypsy boy named Heathcliff. The story opens with Mr. Earnshaw introducing Heathcliff to his family – Cathy and her brother, Hindley – at Wuthering Heights. While Cathy immediately befriends Heathcliff, Hindley becomes jealous of his father and sister’s high regard of the newcomer. Heathcliff’s pleasant life with the Earnshaw family ends when Mr. Earnshaw dies and a resentful Hindley forces him to become one of the family’s servants.

Despite Heathcliff’s new status within the Earnshaw family, his close relationship with Cathy remains close. Some eight to ten years later, the now adult pair have fallen in love and are meeting secretly on Penniston’s Crag. One night, Cathy and Heathcliff are out when they discover the Earnshaws’ neighbors, the Lintons, giving a party at the Grange. After climbing the garden wall, Cathy is attacked by a dog. The Lintons take Cathy in to care for her and Heathcliff is ordered to leave the Grange. Cathy becomes close with Edgar Linton and entranced by his wealth and glamour, while Edgar falls in love with her. When Edgar decides to propose marriage to Cathy, his action leads to a major fallout between Cathy and Heathcliff, the latter’s departure for United States, his return, jealousy, obsession and in the end, tragedy.

As far as I know, the 1939 film eliminated the second half of Brontë’s novel that centered on the generation featuring Heathcliff and Cathy’s children. This elimination has led many fans of the novel to dismiss this version as a poor adaptation. Well, to each his own. I have never read Brontë’s novel. And this is probably why I have such difficulty in dismissing “WUTHERING HEIGHTS” as unworthy of the novel. The only way I can judge the movie is on its own merits. And quite frankly, I believe it is one of the better costume dramas to be released during Hollywood’s Studio Era.

Producer Samuel Goldwyn assigned his top director, William Wyler, to helm the movie. And Wyler did a superb job. Thanks to his direction, “WUTHERING HEIGHTS” turned out to be an atmospheric and well paced movie filled with superb performances by the cast. Wyler utilized the talents of cinematographer Gregg Toland, along with art designers James Basevi and Alexander Toluboff to re-create the novel’s setting – the brooding Yorkshire moors with exquisite details.

The movie’s most controversial aspect turned out to be Charles MacArthur and Ben Hecht’s screenplay. Many present-day critics believe that the two screenwriters took the bite out of Brontë’s novel by romanticizing Heathcliff and Cathy’s relationship. Literary critic John Sutherland accused Wyler, Hecht and MacArthur of portraying Cathy as a more passive character, willing to accept Heathcliff’s abuse. Personally, I cannot help but wonder how he came to this conclusion. My recent viewing of “WUTHERING HEIGHTS” recalls a capricious and manipulative Cathy unable to hold back her scorn of Heathcliff in the face of the Lintons’ wealth and glamour; and a Cathy more than determined to prevent Heathcliff and Isabella Linton’s marriage. Not once do I recall a passive Cathy willing to accept abuse from Heathcliff.

Other critics of the movie have also accused Wyler and the two screenwriters of robbing Heathcliff the opportunity to seek revenge against Cathy and the Linton family by deleting the second half of the novel. These same critics seemed to have forgotten that a good deal of the movie’s second half focused not only on Heathcliff’s return to England, but also his efforts to get revenge on both the Earnshaw and Linton families. He did this by acquiring Wuthering Heights from an increasingly dissolute Hindley Earnshaw and more importantly, seeking Isabella Linton’s hand for marriage. The latter finally reached its mark as far as Cathy was concerned. The emotional damage from Heathcliff’s marriage to Isabella led to Cathy’s death and tragedy. The biggest criticism that emerged from “WUTHERING HEIGHTS” was Samuel Goldwyn’s decision to set the story in the mid-Victorian era, instead of the novel’s late 18th and early 19th centuries setting. It is believed that Goldwyn made this decision either because he preferred this period in costumes or he was simply trying to save a buck by using old Civil War era costumes. Personally, I could not care less. The novel’s setting was merely accelerated by five to six decades. And since “WUTHERING HEIGHTS” did not utilize any historical facts in its plot, I see no reason to get upset over the matter.

“WUTHERING HEIGHTS” went into production as a vehicle for actress Merle Oberon, who was a contract player at Goldwyn Studios. When Laurence Olivier, her co-star from 1938’s “THE DIVORCE OF LADY X”, was cast as Heathcliff, he campaigned for lover Vivian Leigh to replace Oberon as Catherine Earnshaw. Olivier’s efforts failed and Oberon kept her job. Many critics believe that Leigh would have done a better job. I refuse to accept or reject that belief. However, I was very impressed by Oberon’s performance. She did an excellent job in capturing Cathy’s capricious and shallow nature. Although Oberon had a few moments of hammy acting, she was not as guilty as two of her co-stars. I find it rather disappointing that she failed to earn an Academy Award nomination. Her scene with Geraldine Fitzgerald (in which Cathy tries to dampen Isabella’s interest in Heathcliff) and the famous soliloquy that ended with Cathy’s “I am Heathcliff” declaration should have earned her a nomination.

Laurence Olivier made his Hollywood debut in the role of the Gypsy orphan-turned-future owner of Wuthering Heights, Heathcliff. Olivier harbored a low opinion of Hollywood and screen acting in general. But Wyler’s exhausting style of directing and tutelage enabled Olivier to drop his penchant for stage theatrics and perform for the camera. Mind you, I do not believe Wyler was not completely successful with Olivier. The actor still managed to display hints of hammy acting in his performance. And he did not seem that successful in his portrayal of a Heathcliff in his late teens or early twenties, in compare to Oberon, who seemed successful in portraying Cathy in that same age group. Regardless, Olivier gave a first-rate performance, and managed to earn the first of his ten Academy Award nominations.

Another performer who earned an Academy Award nomination was Geraldine Fitzgerald, for her performance as Isabella Linton. I cannot deny that she deserved the nomination. Fitzgerald gave a memorable performance as the passionate, naive and outgoing Isabella, who found herself trapped in an emotionally abusive marriage to a man that harbored no love for her. However, I believe that like Olivier, she was guilty of a few moments of histronic acting. I could never accuse David Niven of such a thing. The actor gave a solid performance as the quietly loving, yet privileged Edgar Linton. Flora Robson was superb as the story’s narrator and Cathy Earnshaw’s maid, Ellen Dean. And both Niven and Robson proved to be the production’s backbone by being the only cast members that managed to refrain from any histronic acting altogether. I can also say the same about Hugh Williams’ portrayal of the embittered and dissolute Hindley Earnshaw. Donald Crisp, Leo G. Carroll, Cecil Kellaway and Miles Mander also gave fine support.

I realize that “WUTHERING HEIGHTS” will never be a favorite of the fans of Brontë’s novel. But as a movie fan, I cannot look down at this production. Thanks to William Wyler’s direction, Gregg Toland’s photography, solid adaptation by Ben Hecht and Charles MacArthur, and superb acting from a cast led by Merle Oberon and Laurence Olivier; it is quite easy to see why it is considered as one of the best examples of Old Hollywood during one of its best years – 1939. I guess I will always be a fan.

Top Ten Favorite Movies and Television Set During the Victorian Age

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I decided to revise my list of favorite movie and television productions set during the Victorian Age (1837-1901). Below is the list:

TOP TEN FAVORITE MOVIES AND TELEVISION SET DURING THE VICTORIAN AGE

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1. “North and South” (2004) – Sandy Welch adapted this superb version of Elizabeth Gaskell’s novel about a woman from Southern England living in the industrial North. Daniela Danby-Ashe and Richard Armitage star.

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2. “The Buccaneers” (1995) – Maggie Wadey adapted and Philip Saville directed this excellent adaptation of Edith Wharton’s novel about American heiresses marrying into the British aristocracy. Carla Gugino, Greg Wise, James Frain and Cheri Lunghi star.

without a clue

3. “Without a Clue” (1988) – Michael Caine and Ben Kingsley are Sherlock Holmes and Dr. John Watson in hilarious look into a premise in which Dr. Watson is the investigating genius and Holmes is a fraud. Thom Eberhardt directed.

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4. “The Charge of the Light Brigade” (1936) – Errol Flynn, Olivia DeHavilland and Patric Knowles starred in this historically inaccurate, but fascinating look into British India and the Crimean War. Michael Curtiz directed.

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5. “Sherlock Holmes: A Game of Shadows” (2011) – Guy Ritchie returned to direct what I believe is a slightly better sequel to his 2009 hit. In it, Holmes battles James Moriarty. Robert Downey Jr. and Jude Law star.

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6. “The Four Feathers” (2002) – Although not considered the best adaptation of A.E.W. Mason’s 1902 novel by many, it is certainly my favorite. Directed by Shekhar Kapur, the movie starred Heath Ledger.

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7. “The First Great Train Robbery” (1979) – Michael Crichton wrote and directed this adaptation of his 1975 novel about a group of thieves plotting to steal the Crimean War gold from a moving train. Sean Connery, Donald Sutherland and Lesley Anne Down starred.

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8. “Sherlock Holmes” (2009) – Robert Downey Jr. and Jude Law portrayed Sherlock Holmes and Dr. Watson in this entertaining and exciting take on the famous literary sleuth. Guy Ritchie directed.

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9. “The Way We Live Now” (2001) – Andrew Davies adapted and David Yates directed this biting adaptation of Anthony Trollope’s novel greed in Victorian England. David Suchet, Shirley Henderson and Matthew MacFadyen starred.

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10. “Jane Eyre” (2006) – Sandy Welch adapted this first-rate version of Charlotte Brontë’s novel. Ruth Wilson and Toby Stephens starred.

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Honorable Mention – “Wuthering Heights” (1939) – I rarely include an “honorable mention” on my FAVORITE lists. But I love William Wyler’s adaptation of Emily Brontë’s novel so much that I had to find a way to include it. Laurence Olivier, Merle Oberon and David Niven starred.