Das Mädchen Frankie

Were I pressed to name just five films which I consider to be the greatest of all time, THE MEMBER OF THE WEDDING would have to be amongst them. It is American cinema at its most elevated and humane, and in a strange, oblique kind of way says more about the pain, (that was once so commonplace), of being black in the USA , than many other films that deal with this issue in a more direct way. The story is so universal, and through its many metaphors applies to so many of life's experiences; it is full of compassion, humane values, humour and irony; it both warms and breaks the heart.

Every single role is acted superbly by a fine ensemble of players, but the three main characters, Julie Harris, Ethel Waters and Brandon De Wilde, are quite simply perfection, and give performances that could not be bettered. The scene where the three sit together in the growing darkness of the kitchen and together sing `His Eye Is On The Sparrow' must surely rank as one of the most sublime and moving moments in world cinema. I have watched this film on countless occasions and never fail to marvel at its artistry, and too, how it reflects human values of worth and merit, and, whenever I have introduced the film to others who didn't know it, they have never failed to thank me profusely for doing so.

Fred Zinnemann once said in an interview that it was his personal favourite of all the films he made, and I agree with him, but I would qualify his statement further by stating it is amongst the finest films that anybody has ever made! All technical values are first rate, and yet again, Alex North came up with a brilliant musical score that added yet one more layer of sheer excellence.

A film every American should watch and be proud of; not in a negative nationalistic sort of way, but in a common, shared-humanity way! Non-Americans of course should also watch it, and see a positive side of American values, and, like me, be grateful to Columbia for bringing to fruition such a risky commercial proposition. It may not have broken box-office records, but it is a true treasure in the pantheon of American cinema. One of the truly great films of all time.

On my very first viewing of The Member of the Wedding, I was stunned by its beauty, overwhelmed by its simplicity, captivated by its charm. A seemingly simple story of a young girl's attempt at growing up, this film takes us on a tumultuous and painful journey through the mind of Frankie Addams, a journey so fraught with twists and turns of emotion, we are barely able to keep up! Frankie's journey through adolescence is not an ordinary one. Her disapproval bordering on hatred of herself is bringing her to the edge of her world, and at times we are left wondering whether she has gone too far to ever come back. Her rebellion toward her journey is fierce, and Julie Harris is brilliant in her interpretation of a confused, angry young girl at odds with her world. If I had to make a list of the twenty movies that had the greatest impact on me in my lifetime, The Member of the Wedding would have to make the list. Ethel Waters is as charming and heart rending as she was in Pinky in this never to be forgotten film. I would suggest that it be used in the classroom as required viewing for students between the ages of twelve and fifteen, if only to give them a heroine with whom to share the sometimes chaotic journey from child to young adulthood.

Hampered at times by its staginess, The Member of the Wedding is a touching story of three unique, unforgettable characters that often taps into profound, universal feelings of otherness, loneliness, and longing to be part of someone's "we."

Although Harris's performance can occasionally be a bit much, it often serves as a remarkable expression of childhood frustration, greenness, anger, and sadness, however misguided or uninformed. Ethel Waters is the standout, and her performance is rich with humor, compassion, and experience. Brandon de Wilde is wonderful, although with the least fleshed out character. He makes his character captivating nonetheless.

The interactions between these three characters (and actors) really elevate this uneven, sometimes strange film into something more moving and substantial than it might have been.

I wish I could give this film a higher score because of the lovely portrayals given by Ethel Waters & Brandon de Wilde. However, Julie Harris ruined this film for me. I've seen this movie before, a long time ago, and thought is was really good. However, I watched it again last night and had forgotten how truly over the top Harris' performance was. I've been 12 years old and I can't imagine that any 12 year old would get away with behaving like that in any circumstance. She was just a little too smart and a little too angry for my taste. Like someone else stated, it was the intensity that got to me (I don't really like Brando either--thank you Michael Bo.) The thing that saves the movie for me is Waters performance--probably the best she ever had in the movies. Too bad it was overshadowed by Harris' histrionics. I just don't think that most 12 year old girls would be that outwardly angry. Plus, it was a little creepy to me the obsession she had with her brother & sister in law. Was she in love with both of them or just in love with love, even though she commented, continuously, about not believing in love. Gah!!! It just bugged me to no end. However, I do give credit to the makers of the film for capturing a little bit of what the South was like in the 1950's.

Carson McCullers was one of the best writers the South has ever produced. The clarity and sensitivity of her prose is captured beautifully in this all-but-a-play film.

Ethel Waters, Brandon deWilde and Julie Harris repeat their triumphal Broadway performances.

As a Southern native, it is my informed opinion that Ms McCullers captures the complex and often misunderstood relationships of poor white folks and their even poorer black neighbors in the small town South before the advent of the American civil rights movement. United in poverty, religion and ignorance; they are divided by the institutions of racism and class.

The loneliness of childhood, the love that Bernice has for her young white charges together are explore in the backdrop of the rural South that Faulkner described as half myth and half mysticism.

Ethel Waters reveals her impressive dramatic skills near the end of a long career , Julie Harris displays a mastery of her craft at the beginning of her distinguished career, and Brandon deWilde steals every scene in which he appears.

Highly recommended.