Das Haus im Kreidegarten

In her A&E "Biography", it was revealed that child actress Hayley Mills apparently got her first mediocre notices from critics with this film, but I do not know why. Mills is engaging and colorful as a 16-year-old with a mind of her own: willful, stubborn, and bratty, she's wonderful on-screen. Deborah Kerr is also very fine, cool-headed and mysteriously reserved playing the new governess in an emotionally-unbalanced household run by haughty matriarch Edith Evans. Talky but entertaining, lively adaptation of Enid Bagnold's play (the title a metaphor for growing something in an improper environment). Exceptionally well-directed by Ronald Neame, who carefully allows the story to unfold like a marvelous novel--one you can get lost in. All the performers, including John Mills as the chief caretaker, are first-rate. Worth finding. ***1/2 from ****

Hayley Mills has always been one of my favorite teen actors since "The Parent Trap" circa 1961 with a fantastic Disney ensemble cast of Brian Keith and Maureen O'Hara as Susan & Sharon's parents, with unforgettable Una Merkel as Verbena, Joanna Barnes unmistakably as Vicky, and Leo G Carroll as the wistful Reverend Dr Mosby. "The Chalk Garden" 1964 is the rare occasion where Hayley got to truly deliver an in-depth performance involving complex emotions and character development. Playing opposite Deborah Kerr, Dame Edith Evans, and her father John Mills must had been a thrill for her.

It seems they don't make simple straightforward drama delivered as stylish as the Ross Hunter Productions did. 'Straightforward' in the sense of no gimmick, no special effects - just simply excellent performances all round - a handful of characters weaving a meaningful, intriguing story. A believable set design and complementing art direction, skillful cinematography and right dose of music score applied. Directed by Ronald Naeme (who gave us "The Prime of Miss Jean Brodie" 1969 and blockbuster disaster hit "The Poseidon Adventure" circa 1972), you can say it's a perfect film experience, in spite of the 'damaged' teenager fighting for love and self-esteem subject. It was wonderful to see this film all over again, twice, thrice - well, there's no chapters option, the DVD simply plays and loops itself. (Hence the 'Vault Series' with no fanfare.) Guarantee deeper appreciation of this production and the performances with repeat viewing.

I'm sure I'm not the only one who very much misses the other gem of a movie with Hayley Mills acting with her father John Mills again in the 1965 "The Truth About Spring" (directed by Richard Thorpe), a fun romp and buoyantly merry (sea adventure) with James MacArthur as Spring's (Hayley's character) opposite attraction. Sure hope a DVD revival version will soon sprout up! It IS a Universal Pictures - both production and distribution!

Note: Notice Ronald Naeme was born in 1911. He'd be 100 next year in 2011. What an illustrious cinematic life in film-making achievements, and having been with the masters, Alfred Hitchcock and David Lean.

This psychological thriller was based on a very good play by Enid Bagnold, the author of National Velvet. Edith Evans was nominated for a Best Supporting Actress Oscar for her role as the grandmother, and John and Hayley Mills played opposite each other in one of their most effective interactions on screen. However, the best psychological jousting and interplay of the movie is that between the Hayley Mills and her new governess, played by Deborah Kerr.

The movie is set on the steep chalky-white cliffs of Southern England where an elderly lady, Mrs. St. Maugham (Edith Evans), lives with her 16-year-old granddaughter, Laurel (Hayley Mills), after Laurel's mother had divorced her father and the father died. Mrs. St. Maugham is in the process of hiring a new governess, Miss Madrigal (Deborah Kerr), while fighting with her daughter, Olivia (Elizabeth Sellars), over legal custody of Laurel. In spite of giving no references, Miss Madrigal totally wins over Mrs. St. Maugham and is hired as Laurel's governess.

The situation that Miss Madrigal walks into is very unconventional. The butler, Maitland (John Mills), is formal but far from non-observant or cold. Laurel is a cold-blooded, obnoxious brat who seems to have control of everyone around her and is tolerated, if not encouraged, for her precocious snobbishness. She enjoys shocking people and has Miss Madrigal in her sights as the next victim in a long line of governesses unable to control her. But, Madrigal is no pushover, and Laurel has her work cut out for her before getting rid of THIS governess.

As the movie progresses, there is sort of a back-and-forth psychological game between Laurel's attempt to unearth something about Madrigal's past (so that she can get rid of her) and Madrigal's trying to learn more about Laurel's problems so she can help her. Laurel tries to play private detective by looking for incriminating evidence against Miss Madrigal. She notices that all of Madrigal's clothes (and her luggage) are new; that she has no visitors or phone calls; that she never writes or receives letters; and that she has no family photos to place on her dressing table. Laurel also notices that Miss Madrigal never locks her door for privacy until Maitland suggests it and buys a good padlock for her. Laurel's curiosity gets the best of her, and she breaks into Miss Madrigal's room to try to find something on her. But she fails.

One evening in a conversation with Maitland, Miss Madrigal learns--or should I say confirms--that Laurel is a habitual liar: she learns this as she checks out several things that Laurel had told her. This seems to be troubling to her since she sees some of her own past in Laurel— something that shows Laurel's need to be loved and manifests this need by controlling people—keeping them away.

Things come to a head when Mrs. St. Maugham's 'former mistress,' Judge McWhirrey, 'puppy' (Felix Aylmer), comes to visit the house before judging a murder case in London. While at the super table, Laurel, fascinated by true crime cases, asks him to describe, in detail, what a murder case is like. Real criminal cases are a passion that she and Maitland enjoy sharing. Judge McWhirrey's description is very upsetting to Miss Madrigal and eventually leads to the final outcome of the movie.

While watching this movie, it is very easy to forget that John and Hayley Mills were a real-life father and daughter team. John puts up with Hayley's spoiled child role. At times, Hayley seems like she is overplaying her role, as she might have in a Disney movie, but there can be nothing subtle about Laurel, and she can't be played subtlety. In fact, she plays a child trying to pretend that she is an adult. The child side of her is captured in a couple scenes where she thinks she is not being watched: one with a childhood doll and another where she builds a sandcastle on the beach only to kick it over angrily when Miss Madrigal comes along to admire it. The scene on the steps (near the end of the movie) where Maitland and Laurel confront each other is powerful stuff and deserves nothing but kudos from the father-daughter acting duo. Overall, this is a good movie that deserves to be restored on DVD so that it can reach a wider audience.

It is a film about lies, stories untold, and murder. We enter seeing things one way and then at the end see it another. I am a MAJOR Hayley Mills fan and when I saw this on the AMC channel, I just had to see it. What a movie! It got drawn into it and was held to the end. Deborah Karr plays the role of a new/temp governess of a mean spirited child(Hayley) who can do nothing but lie. Something Deborah's character has in common. We watch as they both try to wear each other down. I was a little surprised to see Hayley bite into a role so unlike her others, and see how well she does. Deborah gives a great performance here as does John Mills(Hayley's real dad) as the caretaker.

The one who really steals the show is (Dame)Edith Evans. She is fantastic. It's hard to believe that she is older than her character, yet they had to age her for the film so she would look old enough for the role!

What can I say! I'm just another Haley Mills fan like all the rest. In this role as Laurel, she is being precocious, over inquisitive, and a downright trouble maker as far as governesses are concerned. However, her incessant pursuit of trying to turn up details in their private lives really underscores a psychological imbalance in her own young life which eventually surfaces. Much does revolve around the fact of her being estranged from her mother as the tale unfolds.

This is a lovely combination of real-life father, John Mills, in a fine supporting role, and Deborah Kerr as the well-meaning but beleaguered governess. Many scenes are emotionally intense yet so well acted that we are swept along in the story. The tangled threads of family relationships is gradually sorted out and priorities are set aright after much confusion and willfulness particularly in the obstinacy of the grandmother (Edith Evans), who performs with great dramatic vehemence near the conclusion. A touching, human story, a great play.