The Dark Secret of The House on Telegraph Hill

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Have you ever planned to murder your husband or your wife? Me neither. I’m not married anyway. But that’s the type of conspiracy we saw more than once in the “wonderful world of cinema” and it’s not about to stop. However, as creepy as it may sound, this is the type of ambitions that can make a film strangely entertaining. Alfred Hitchcock, of course, was a master at that type of films with movies like Notorious or Dial M for Murder, but he was not the only one to excel at delivering us those thrilling husband vs. wife misadventures. Theresa Brown from CineMaven’s Essays from the Couch is hosting the ‘Till Death Us Do Part Blogathon which explores this type of movies. I’m glad to take part of it with my own review of The House on Telegraph Hill, a 1951 movie directed by Mr. Versatile Director: Robert Wise, and starring Valentina Cortese, Richard Basehart, William Ludingan and Fay Baker.

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By the way, I didn’t remember how great this film was before re-watching it for the blogathon. So, if you haven’t seen it yet, please do so.

Also, before going further, it’s my duty to tell you that this article will include major spoilers since I’ll be talking about it from A to Z.

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Where is Telegraph Hill? And where is this house at the heart of the story? In San Francisco, but everything starts in Poland during the Second World War. A woman’s voice-over introduces her own story to us from the first minutes of the film. She is Victoria Kowelska (Valentia Cortese). She has lost her husband during the war and her house has been destroyed by the Germans. She was deported to a concentration camp in Belsen. There, she met Karin Dernakova (Natasha Lytess) with whom she became great friends. Unfortunately, due to her poor health, Karin eventually died in the camp. To her great sorrow, Victoria has lost a good friend, but this situation was a way for her to have a better life. She knew that Karin has a son who lives with her rich aunt Sophia in San Francisco. So, she decided to take Karin’s papers and renounced her own identity.

When the camp is finally liberated, Victoria (now Karin) is questioned by Major Marc Bennett (William Lundigan), an American. The poor woman bursts into tears during the interview. Is it because she is presenting herself under a false identity? Is it because she is thinking of the horrors of the camp and the loss of her friend Karin? Probably both. Fortunately, Major Bennett is a kind man and tempts to reassure her. When Victoria leaves his office, he makes her notice that she has forgotten something. It’s her own passport. She tells the major that this passport belonged to her friend Victoria (who is, in fact, herself), but now that she is dead, she doesn’t need it anymore. So, Victoria tears it in two and definitely loses her real identity.

Victoria is then deported to a camp for persons displaced by the war where she communicates with Aunt Sophia. A cold answer comes a few days after: aunt Sophia is dead. The poor Victoria sees her dreams of going to America fading away, but her ambition is still there. Four years after she received the letter, Victoria manages to travel to New-York, where she makes the acquaintance of Alan Spender (Richard Basehart), Christopher’s guardian and a distant relative of aunt Sophia. It doesn’t take long for both of them to be charmed by each other and eventually get married. They moved to San Francisco to the house on Telegraph Hill, where Victoria finally makes the acquaintance of Karin’s son, Christopher (Gordon Gebert). But, now, she is the one who has to play the role of his mother. The moment where they first see each other is at first a bit awkward for both of them because, 1- Christopher hasn’t seen his mom in 9 years (when she send him to the US, he was just a baby) and 2- Victoria knows she is not Christopher’s real mom. Fortunately, our protagonist has a maternal instinct and they won’t take long before getting to know each other better and truly appreciate each other.

Karin now lives in a beautiful mansion and wears gowns to make every woman with good tastes jealous. Those were designed by Renié, and are the pure definition of elegance. She has a new husband whom she loves very much and lives a wealthy life.

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However, Victoria’s new happiness is only a brief illusion. Even since the first night in her new home, we can feel a certain discomfort. Like many people in a new and unknown place, she has difficulty sleeping, despite being in a much more comfortable place than a concentration camp.

But this is normal no? I mean, who wouldn’t have trouble sleeping in such a situation? After having lived such events?

The real obstacle that is placed in Victoria’s way is Margaret (Fay Baker), Christopher’s governess. There’s something about this film that can make us think a bit of Rebecca (Alfred Hitchcock, 1940): Victoria marries a man she barely knows, they move to a beautiful mansion and she has to face a jealous domestic, Margaret that is. From her first on-screen minutes, we feel the cold tone of her voice and guess she isn’t particularly happy having Karin (Victoria) intruding her life. As she was the one who took care of Christopher during 9 years and not Karin, it is obvious that she feels like a mother to him. Tired of Margaret’s opposition to her, Victoria fires her, but Alan reasons her explaining that she can’t fire someone who worked for them for 9 years just like that. Victoria realizes her mistake and Margaret remains part of the house. After offering her apologies to Victoria, she somehow becomes a  more agreeable person (but she doesn’t smile very much so she keeps that ounce of creepiness).

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One afternoon, Victoria discovers something rather odd. While she is playing baseball with Chris (who now treats her like a real mother) the ball gets lost in the grass and Victoria goes after it. She arrives next to a little playhouse with broken windows. Victoria is intrigued, but Chris begs her not to go inside as it is a dangerous place. Victoria, too curious, doesn’t listen to him and enters. The chaos that she finds there has nothing very attractive and the place is, indeed, a dangerous one. There is a big hole in a part of the floor and a part of the wall and whoever might step into it would fall in the streets of San Francisco from a great height. Chris explains to her “mother” that this hole was caused by an explosion from his chemistry set. Victoria to talk about it with Alan,  but Chris begs her not to tell him as he apparently doesn’t know. Later, she talks about it with Margaret, who doesn’t see either the purpose of talking about it with Alan since the boy was not hurt during the explosion.

During the evening, the Spender receive guesses at their house, one of them being Major Mark Bennett. Recognizing him, Victoria first tries to hide in order to avoid an awkward situation. When she doesn’t have the choice to face him, Mark recognizes her but is not 100% sure who she is. She refreshes his memory and finally realises that she has nothing to be afraid of and can enjoy an evening in his company.

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Later, Victoria returns to the playhouse and it’s there that everything changes for good. She investigates the place when she is surprised by Alan. He wonders what she is doing here with a smile on his face, but this is exactly a pleasant smile. He makes a step toward her, she steps back, with fear in her eyes, and fall in the hole. Luckily, Alan catches her in time. From this moment, Victoria’s attitude toward Alan changes: she is afraid of him and always seems to be on the verge of a nervous breakdown.

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Not long after, Victoria is supposed to go to town with Chris. This one finally can go as he has to finish cleaning his room. So, Victoria goes alone. While she is going down a street, she wants to brake, but realises that the brakes aren’t working. Then starts a furious stroll in the streets of San Francisco similar to the one in Hitchcock’s Family Plot. Victoria manages to stop the car by bumping in a pile of sand. She is physically not hurt, but mentally it is different. When she realises that Chris was supposed to be in the car with her, a reasoning is quickly made in her head: Alan wants her and Chris to be dead. Why? Because he’ll be the one inheriting aunt Sophia’s money.

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She talks about it with Mark, but this one doesn’t think Alan is a murdered, despite not liking him very much. They, however, start their investigation, but, each time Victoria tries to reach Mark (to whom she has finally revealed her own identity), it seems that Alan is in her way. Without revealing it out loud, we know that he knows that she knows. However, he still continues to play the game of the worried husband.

A log is added to the fire of suspicion when Victoria discovers an article about aunt Sophie’s death in Margaret’s scrapbook. She realizes that she received that telegram announcing her death actually three days BEFORE the real date of her death. It is obvious to her that Alan got rid of aunt Sophia with his own head, in order to access fastly to the fortune.

But is Victoria right? Could sweet face Alan Spender really be a murderer? Is she only imagining things like Lina (Joan Fontaine) in Suspicion?  Well, unfortunately, she has it right from A to Z. And this slowly leads us to the thrilling ending of this film.

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During the “last supper” Victoria is tense since she hasn’t managed to reach Mark all day (she was always surprised by Alan). She can’t eat a thing so she decides to go to the office to read. She is soon followed by Alan, who seems decided to watch her. When they go to bed, Alan prepares their usual before-bedtime glass of orange juice. However, Victoria hears him putting something in her glass. Is it poison? She asks Alan to go take her book in the library which he does, and she takes the occasion to call the police. Unfortunately, as the phone in the library is off the hook, she is unable to make a call. From the library, Alan listens to her “help!” with an evil smile on his face.

When Alan comes back to the bedroom and realizes Victoria hasn’t drunk her orange juice, he convinces her to do so. They finally drink their respective glass of juice by looking at each other in the eyes. That is a very tense moment in the film. Knowing that his wife is now about to die (because yes, he DID put something in the juice), he confesses the murders and the reason, which was, indeed, money. He tells her that he has put a whole box of sedatives in her orange juice in order to kill her. Panicked, Victoria begs him to call a doctor, but not for her: for him! While he was in the library, she put her orange juice in the pitcher and put in her glass what was initially the pitcher. So, Alan is the one who drank the juice full of sedatives. Alan is not feeling well and goes to Margaret. Victoria is looking for Chris (whom she thinks has been “kidnapped” by Margaret, who has always menaced to take him with her). She finds him yes, with Margaret, but they still are in the house. He is sleeping in Margaret’s bedroom and she is taking care of him. Alan claims that Victoria tried to kill him, but with a ton a panic, she has to convince Margaret that he wanted to kill her. Alan begs the governess to call a doctor, but, when she realises that he tried to kill Christopher too, she doesn’t call him. Margaret and Alan, who were lovers, were supposed to get rid of the family to live a rich life together, but let him kill Chris? That is something Margaret would never have allowed.

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Without a doctor, Alan can’t do much for his life so he dies. When the police investigate, it is discovered that Margaret never called a doctor so she is arrested for murder. Poor Margaret! Victoria and Mark, who know that she has somehow nothing to do with Alan’s death offers all the help they can to get her out of this mess.

Victoria now has nothing to do anymore in the house on Telegraph Hill. So, with her only suitcase in hand, she leaves the house with Chris and Mark in order to finally begin, we hope, a somehow normal life.

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It is not really surprising that Alan should be the victim of his own crimes. In the Production Code Era, a murderer had to be punished. However, the real surprise eventually resides in the way he becomes the victim. Clever little Victoria!

From 1951 to 1960, Italian actress Valentina Cortese and Richard Basehart were married. They fell in love while filming this film. Despite playing opponents, we seize their beautiful chemistry in the film. It is really because of Richard Basehart that I first decided to watch The House on Telegraph Hill since he was an actor that has always intrigued me. No regrets.  As the villain with a calm temperament, he is quite different from the nervous and suicidal Robert Cosick from 14 Hours! Valentina Cortese is an actress all in elegance who delivers a convincing performance. Her chemistry with William Lundigan is the definition of friendship and make their moments together highly appreciated.

The House on Telegraph Hill is not a so well-known film, but it deserves more recognition. It has a dose of suspense that many will appreciate.

A big thanks to Theresa for hosting this blogathon! I invite you to check the other entries. The link will be live on July 24th!

‘Till Death Us Do Part Blogathon

See you!

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Top of the World: Olivia de Havilland Turns 101!

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Today, the strong, lovely, talented, legendary Olivia de Havilland is turning 101 years old and we are very lucky to still have her with us! Aging gracefully, she certainly is one of the most beautiful women of that age! For the occasion, Crystal from In the Good Old Days of Classic Hollywood and Laura from Phyllis Loves Classic Movies are hosting The Second Olivia de Havilland Blogathon + Eroll Flynn!

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For the occasion, I’ve decided to present you a top 10 of my most favourite Olivia de Havilland’s films! Remember, these are my personal favourites, so it’s purely subjective. I ask you to respect my choices.

Just to give you an idea, I’ve seen a total of 12 of her films so far.

Here we go!

10. A Midsummer Night’s Dream (Max Reinhardt and William Dieterle, 1935)

I’m not THAT much a fan of this film, but I’ve decided to put it at #10 as 1- It has to be praised for the excellent performances (including Olivia’s one), 2- A Midsummer Night’s Dream remains, after all, my favourite Shakespeare play, 3- I love the magic and poetry embodied by the dreaming cinematography and 4- the two other ones I saw, The Private Lives of Elizabeth and Essex and Santa Fe Trail left me a bit indifferent.

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9. Hush… Hush… Sweet Charlotte (Robert Aldrich, 1964)

Quite a creepy film, but I’ve always found Olivia de Havilland’s performance quite interesting as it is very different from the innocent Melanie Hamilton for example! And who would say no to a film reuniting her, Bette Davis, Joseph Cotten and Agnes Moorehead?

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8. The Proud Rebel (Michael Curtiz, 1958)

This western was the last collaboration between Curtiz and De Havilland. Somehow it’s not too well-known, but I think it deserves more recognition. It’s a beautiful film and our Livie is absolutely touching in it.

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7. My Cousin Rachel (Henry Koster, 1952)

One thing: I STILL have to read the book by Daphné du Maurier. Ok, this film contains his flaws, but it remains an appreciable one to see. Olivia is quite fascinating playing this ambiguous Rachel! Who is she really?! This film is a good way to size her versatility as an actress.

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6. The Strawberry Blonde (Raoul Walsh, 1941)

I actually just watched this movie today in honour of the celebrated one! I quite enjoyed it! It was a lot of fun. Olivia and James Cagney (such a great actor!) looked just adorable together. The presence of Rita Hayworth and Jack Carson was, of course, highly appreciated as well. A good comedy movie to watch when you feel like not concentrating too much!

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5. The Dark Mirror (Robert Siodmak, 1946)

I’ve always loved psychological movies and this one makes no exception to the rule. Playing two roles in one film never looks like an easy task, but, here, Olivia did it wonderfully. A fascinating film.

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4. The Adventures of Robin Hood (Michael Curtiz and William Keighley, 1938)

Of course, we all like the collaborations between Olivia de Havilland and Errol Flynn. This one has to be my favourite one without hesitation. Olivia is so lovely as Lady Marian and the film itself is a wonderful entertainment!

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3. The Snake Pit (Anatole Litvak, 1948)

I’ve said that I’ve always loved psychological movies. Well, this one is another great example. I love to see the evolution of the characters in these. Here, Olivia de Havilland certainly gives one of her best and more challenging performances. She received an Oscar nomination for her performance.

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2. The Heiress (William Wyler, 1949)

And happy birthday to William Wyler, who was born on July 1st too! Well, if Olivia won her second Oscar with this film, it’s not without reasons. An extraordinary performance, full of subtleties and perfectly calculated. She gives an extraordinary essence to her character and it’s hard to surpass her. I’ve loved this film since the first time I saw it. Of course, I don’t think William Wyler ever made a bad film…

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And…

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  1. Gone With the Wind (Victor Flemming, 1939)

Ok, I know, this is not a very creative #1, but what can I say? I love the film ok! There would be so much to say about it, but for what concerns Olivia, she illuminates the screen and is in perfect harmony with the rest of the cast. I couldn’t think of anyone better to portray Melanie Hamilton. This is the first film of hers I saw. What a great introduction to her filmography! 🙂

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Well, that’s it! Of course, don’t hesitate to share your choices with me!

I want to thank Crystal and Laura for hosting this amazing blogathon. Please take a look at the other entries here:

The Second Olivia de Havilland Blogathon + Errol Flynn Day 1

Happy 101 birthday dear Olivia!

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I Fall for Fred Derry

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The Best Years of Our Lives (William Wyler, 1946) is, without a doubt, one of the best post-war movies that has been made in Hollywood. It’s touching, sad, beautiful, etc. This 9 Oscars winning picture has all the ingredients to be a favorite among classic film lovers. On my side, if Fredric March delivers my favorite Oscar-Winning performance by an actor in a leading role, it’s for Dana Andrew as Fred Derry that I’ve developed a real crush through the years. Today, forget about the cinematography, forget about the editing, forget about the music. We are here to focus on our imaginary love for Derry! Meow!

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This article is part of the Reel Infatuation Blogathon 2017 hosted by Ruth from Silver Screenings and Font & Frock. A way to finally cry over our impossible love for movie stars and movie characters. I had A LOT of options, but Fred Derry/Dana Andrews it is!

Reel Infatuation 2017

Before continuing, if you haven’t seen the movie and wish to know more what it’s all about, please click here. But, basically, it’s the story of three American soldiers going back home after the war and struggling with the challenges of a new life and a country that has changed a lot during their absence.

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So, Fred Derry is the first character to be introduced to us, in an airport (that’s an important precision to make since I’ve always enjoyed taking the plane. One point for Fred!). He wears his very chic army uniform that perfectly draws the line of his amazing body. He imposes himself in an impressive elegance.

When he later is on the plane to go home with his new friends, Al Stephenson (Fredric March) and Homer Parrish (Harold Russell), and making jokes with them, we can notice his absolutely cutie-pie smile that will make our heart melt. *Sigh. Plus, he seems to be one with a great sense of humour, which is a quality I always priories. I mean, what would be life without some laughs?!

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Later, when the three friends are reunited at Butch’s (Homer’s uncle’s bar), Fred makes the acquaintance of Al’s wife Milly (Myrna Loy) and his daughter Peggy (Teresa Wright). We immediately know that this one won’t leave him indifferent. Oh! How we’d like to be in her place, drinking a glass with him, very close from one to each other. Hey, they say their love is impossible since Fred is already married, but imagine how impossible it is for me! Ok, I have to give one point to Marie Derry, since she is played by Virginia Mayo. Virginia. Awesome name, isn’t it? 😉 But with my dark brown hair, I’m personally much more the Teresa Wright type. But I like doing the party like Marie. I guess I’m somehow a mix of both!

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At the end of their most entertaining evening/night at Butch’s, Fred once again does everything for me to want to go in the television screen and be on his side. First, when he gets out of the Stephenson’s car to go to Marie’s apartment, he always hurt his head on the car’s door frame. He’s like so cute and so clumsy! ❤ And he apologizes. Poor Fred! ❤ He shows a beautiful vulnerability that we love. Of course, just like Milly and Peggy, I too would have gotten out of the car and bring him home for the night (because it seems that Marie isn’t in here  to welcome him). But, I personally would be less resistant than Peggy on a certain point. When she puts him to bed and he takes her in his arms exclaiming “Peggy!” in an amusing way and she managed to liberate oneself quite rapidly saying “I’m not THAT Peggy”, that makes me think “Well, girl, if you’re not ‘THAT Peggy’, I would like to be her without problem.” Anyway, we later learn that his wife is a real b****, so I personally wouldn’t have felt sorry.

During the night, Fred once again breaks our heart when he has a nightmare. His tears simply make us want to take him in our arms and comfort him. Luckily, Peggy is once again here to take care of him. Because, yes, men can cry too!

Unlike Al who works at the bank, Fred doesn’t make a fortune. He works in the new department store, part time in the perfume section and part time in the ice cream bar. Ok, I have a confession to make: I LOVE ice cream. It’s like my favourite food ever. So, I certainly would have liked to have one prepared by Fred! I love this scene where he explains to Peggy how he used to be such a good soda jerk before the war. He seems very passionate by the thing!

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Finally, we have to give more points to Fred on 3 main occasions: 1- When he cooks dinner for him and Marie. Marie wants to go out, but they can’t as he is too poor. But hey, a man cooking dinner! That’s certainly not something we see often in classic films. Good initiative Fred! I tell you, he is a man to marry. 😉 [SPOILERS] 2- When he FINALLY kisses Peggy. Ok, they kind of regret it as he is married, but how I wish to be at Peggy’s place. He seems to be a very good kisser. Anybody can confirm? 😛 And 3- When he kisses Peggy again at Homer’s wedding, but this time there is no regrets since he and Marie are divorced. (YES!) [END OF SPOILERS]

So yeah, we have all the reasons to fall for Fred Derry, he is at the same time so handsome (that smile! that body!), but also so cute in his mannerisms. He’s also funny, but serious when it’s time to be. Dana Andrews certainly chose a great role for his career. Ok, he was around 37 when he starred in The Best Years of Our Lives, which is like 15 years older than me… Hey, it’s not THAT bad! A girl can dream anyway! Of course, I have a lot of competition against Peggy. Àlala…

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Before living you, I want to thank Silver Screenings and Font & Frock for hosting this most original blogathon! We never take enough times to talk about our movie crushes!

To read the other entries, click on the following links

Reel Infatuation Blogathon 2017- Day 1

Reel Infatuation Blogathon 2017- Day 2

Reel Infatuation Blogathon 2017- Day 3

See you!

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Celebrating Judy Garland with a First Viewing of “A Child Is Waiting”

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Oh that it seems far away, that time when Judy Garland was gambolling on the yellow bricks road and singing “We’re Off to See the Wizard” when you look at her years later in John Cassavetes’s A Child Is Waiting (1963)! If this film was among her lasts before her premature death in 1969, it was one of Cassavetes’s first. But the two managed to mix their respective talents for a worthy result. To that was added a glimpse of always-great-on-screen Burst Lancaster and a beautiful supporting cast composed by Elizabeth Wilson, Gena Rowlands (John Cassavetes’s wife from 1954 to his death in 1989), Bruce Ritchey, Steven Hill, Lawrence Tierney, Barbara Pepper, John Marley and Paul Stewart. The film was produced by Stanley Kramer. Even if Cassavetes lost power as a director under the production of Kramer and wasn’t satisfied with the final product, A Child Is Waiting remains, on many levels, a masterpiece, but, a forgotten one. Indeed, when one thinks of its two main stars, Garland and Lancaster, this is rarely the first film that we think about.

I must admit, as odd as it seems, I’ve only seen two Judy Garland’s films: The Wizard of Oz (obviously) and this one (I also saw some parts of Meet Me in St. Louis). As a matter of fact, when Crystal from In the Good Old Days of Classic Hollywood announced that she’ll be hosting the Judy Garland Blogathon in honour of this musical entertainer’s birthday, I thought that it would be a good occasion for me to finally watch this film who was on my to-watch list for quite some time. This was due to the presence of Burt Lancaster, and actor I adore, but also to this review written by Crystal herself and the simply good occasion to discover another Garland’s film.

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Yesterday, the lovely Judy would have been 95 and a blogathon is, of course, the best way for us, bloggers, to honour her memory.

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From the first minute of A Child Is Waiting, I knew this would be a film I would like. I hope I’m not too weird by saying that, but I’ve always liked psychological movies or movies that take place in a psychiatric institution, a mental hospital, etc. I simply find these fascinating, especially for what concerns the way the patients evolve in this environment.

A Child Is Waiting takes place at the Crawthorne State Mental Hospital. Judy Garland plays Jean Hansen, a newcomer among the staff of the hospital. Due to her musical background, she is hired as a music therapist. The psychologist, Dr. Matthew Clark, is played by Burt Lancaster. Jean becomes fond of a little boy named Reuben Widdicome who suffers from a mental retardation. The child, who hasn’t seen his mother since two years, easily finds a friend in Jean who has a real maternal instinct. She and Dr. Clark are put in opposition in what concerns their ideal for the child’s development. If she believes he will improve his condition by seeing his mother, the doctor believes he should not and that he must learn to live with different people.

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The film is a special one as its extras include real mentally-challenged children from Pacific State Hospital in Pomona, California, just like Milos Forman would use real mentally hill patients in his highly acclaimed One Flew Over the Cuckoo’s Nest. This creates a sense of authenticity and realism. Concerning these children, I particularly appreciated the inclusion of Burt Lancaster in this film as I don’t remember having seen him interact often with kids on screen. He is presented as a man with a calm temperament. He can get angry,  but he’ll never scream at someone. As always, Mr. Lancaster loves to show his teeth when he talks, but that’s how we love him! His acting is well calculated, without  unnecessary extravagances. The child, who is for him (the doctor) a hopeless case, is played by Bruce Ritchey, who certainly breaks our hearts with his sad eyes. If A Child Is Waiting is credited as his only major film role, and the child actor is quite forgotten today, it goes without saying that his performance is one that we don’t easily forget. Playing people mentally ill never seems to be an easy task for the simple reason that it would be “dangerous” to be too cliché. But Ritchey keeps it simple and his acting full of sensibility almost makes us forget the film’s two big stars, Burt Lancaster and Judy Garland.

Talking about Judy, if this one was particularly known for her musicals, this film allows us to discover her talent as a dramatic actress. We become easily fond of her as she gives to her character a beautiful aura of kindness and chooses a type of acting that fits perfectly the mood of the film. Even if A Child Is Waiting isn’t a musical, we even have the occasion to hear Mrs. Garland’s beautiful voice in a brief moment of the film. Sadly, if she delivers a thoughtful performance, Mrs. Garland had important personal problems at the time and this can be felt in her acting. There is the impression of a certain discomfort, but, luckily, this one is easily forgotten. Anyway, let’s not talk too much about Judy Garland’s life problems on her celebration! Judy Garland and Burt Lancaster were reunited before in Stanley Kramer’s Judgement at Nuremberg (1961).

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On the set of the film with director John Cassavetes

Interestingly, A Child Is Waiting marks the first cinematographic collaboration between John Cassavetes and his beautiful wife actress Gena Rowlands. She plays Reuben’s sad mother and her supportive presence is nothing but a strong addition to the film.

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As always, I’m always talking too much about the actors, so I will stop here. Nothing bad to say about the rest of the cast, they were all good.

Another thing that particularly struck me about this film is the music. First, in the opening titles embellished with naive children’s drawings, we hear an a capella chorus of children (which can make us think of the famous school scene in Hitchcock’s The Birds) which indicates us the importance of these children in the film. The rest of the score was composed by Ernest Gold (who was not at his first, nor last collaboration with Stanley Kramer) and there’s something about it that represents quite perfectly the mood of the film, but also Reuben’s psychological states. One one side, there’s something somehow disquieting about it, but on the other one, it’s always a calm melody.

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Composer Ernest Gold

If John Cassavetes was fired from the production when editing time came (…), there’s nothing really bad to say about this editing, but we feel it’s not a John Cassavetes’ one. I’m not a Cassavetes expert, but from what I know of his methods, we feel that his editing would have been more creative. Here, no particular liberties are taken nor creativity shown. Of course, this doesn’t necessarily affect the quality of the film, but maybe Cassavetes’ editing would have accentuated the psychological side of the film and give it a different meaning. Just an idea…

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A fun moment between Burt, Judy and John on the set of the film!

What disappointed me about the film is the development of the characters. We actually don’t really feel there is one. If that was the intention, then ok, but I think more efforts could have been put on this level. This doesn’t only concern Reuben, who, unfortunately, never really seem to change as a patient (this doesn’t necessarily have to be a positive change. It can be a bad one too), but also for the doctor and Jean. We always feel Jean is about to tell us something crucial about her past life, but no… This constant impression could have been avoided as, here, it is only annoying. Also, at the end, we don’t really know what will happen with each of the characters. I’m all for open endings, but here it doesn’t seem that necessary.

But, apart from that, I highly enjoyed the film!

On its released, A Child Is Waiting sadly was a commercial failure. On another side, it received some good reviews.

It is difficult to know why the film is forgotten nowadays at it reunites a masterful team. So, if you haven’t seen it, I highly recommend it. It is the perfect film for those who like thoughtful, but not too mentally extravagant films (even if this one takes place in a mental hospital, it remains quite sober on that level). Fans of Garland, I’m sure, will appreciate it as it shows a different facet of her acting.

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Before leaving you, I want to thank Crystal for hosting this lovely event and, of course, wish a happy (belated) heavenly birthday to the celebrated star. Happy birthday Judy, wherever you are!

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Don’t forget to take a look at the other entries, here!

My! This is the first article I was writing since mid-April (blogathon announcements don’t count). I hope I haven’t lost my touch!

See you!

 

Coming Soon: The 3rd Wonderful Ingrid Bergman Blogathon!

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I just came back from a wonderful one month trip to Spain (where, in Seville, I saw two places where Lawrence of Arabia was filmed)! And I must admit I already missed it and I’m bored with Montreal’s undesirable weather. But, if there’s something I missed during my trip, it’s watching classics and blogging, that’s for sure. However, I must admit, I had the chance to see Trouble in Paradise at the Cine Doré in Madrid!

But now I’m back anyway! Admit, you missed me? 😉 And back in strength as I’m here to announce the coming of my 3rd Wonderful Ingrid Bergman  Blogathon, which will celebrate this most talented and beautiful actress at the occasion of her 102th birthday, but also her 35th death anniversary.

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As this is the 3rd edition of this blogathon, I’m sure many of you are familiar with it. If not, you are of course most welcome to join us in the festivities. The more the merrier!

There are some simple rules to follow for this blogathon and here they are:

1- Choose a subject. You can write about anything related to Ingrid Bergman. My only request is the usual one: no duplicates (vive la variété!) You are welcome to write more than one entry, but as I don’t allow duplicates, please limit yourself to two.

2- You can submit your subject in the comments section of this post or via Twitter (@Ginnie_SP), email (virginie.pronovost@gmail.com), or via The Wonderful World of Cinema facebook page. Please provide your subject, the name of your blog and your blog URL.

3- Can I participate even if I don’t have a blog? Yes! You are most welcome to. Here is how we’ll proceed: send me your text via email and I will add it to my blog and credit you as the writer.

4- Once your subject has been accepted and confirm, grab one of these banners to put on your blog in order to help me promote the blogathon. As you can see, I used only pictures of Ingrid’s profile. Ouuuu concept!

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5- Like the previous years, the event will start on August 27 and end on August 29…2017!!

6- On the first day of the blogathon, I will update a new post for the entries where you’ll be able to submit your post. If you could give me your Twitter handle with it, that would be great!

7- If you have any question, don’t hesitate to ask!

Have fun!


Here is the roster:

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See you on the 27 to honour the wonderful Ingrid Bergman!

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