Fuego otoñal

Dodsworth is one of the best dramas of the 1930s. Walter Huston stars as Dodsworth, a middle-aged auto tycoon who looks forward to retirement. His wife--Ruth Chatterton--is not quite ready for the rocking chair. They embark on a grad tour of Europe. From the start Chatterton falls for the cosmopolitan airs of Europe and the attentions of the debonair men. More and more she leaves Dodsaworth alone as she flits among the cafe society. By accident he runs into a lonely American widow (Mary Astor) living in Italy. As the husband and wife drift farther apart, he moves closer to Astor. Yes it sounds like soap opera, but the acting is so good and the characters so real you forget the plot mechanics.

Huston has one of his very best film roles as the floundering Dodsworth who needs an anchor. Chatterton is excellent as the foolish wife (this was her last film), and Astor is a wonder as the American widow. The three stars turn in towering performances.

The rest of the cast includes Maria Ouspenskaya and the old countess, Spring Byington and Harlan Briggs as the best friends, John Payne as the son in law, David Niven as a gigolo, Gregory Gaye as the suitor, Paul Lukas as Arnold, and Odette Myrtil as the social leach.

There was talk in the mid-90s that Harrison Ford would star in a new version of Dodsworth but he never followed through because he wanted to continue his "action" roles. Too bad. Ford has certain qualities that would have made him (or Warren Beatty) ideal for the part. But Ford and Beatty are too old now. Oddly only Huston and Ouspenskaya earned Oscar nominations. Hard to see how Chatterton and Astor got bypassed.

This is a great American film.

We're taught to "take kindly to the counsel of the years, gracefully surrendering the things of youth." [Desiderata.] While most people allow maturation to occur naturally and be at peace with their physical evolvement, some do not.

Like Sinclair Lewis' heroine, people who doggedly resist change may end up disappointed and bitter. Such resistance is the basis for this perceptive adult drama on marital strife.

Ruth Chatterton is ideally cast, looking young while obviously no longer in her early thirties. Her frivolous banter provides a dramatic clash with Walter Hutson's aging hero.

While I find "Dodsworth" strangely depressing, it's a personal reaction, for this is a very well conceived and produced film, securely directed by William Wyler, and solidly scripted by Sidney Howard.

Mary Astor shows warmth as "the other woman" and Spring Byington offers an emotional balance to the proceedings. With excellent cinematography and art direction, "Dodsworth" remains a telling adult drama of the dangers which may transpire by not surrendering youthful matters to advancing years.

Sinclair Lewis story about how time affects a long-term marriage comes to the screen with still-relevant talk weighing the issues behind a union which doesn't have the same spark as before. Retired, wealthy American businessman and his wife finally take that trip to Europe they've been dreaming about--but, on the ship going over to England, the wife finds that men still find her desirable in a way that her older husband perhaps takes for granted. Worse, their daughter has just made them grandparents for the first time, something the Mrs. doesn't want to share with anyone for fear of being out of her league with the flirtatious men in her path. William Wyler directs with a knowing eye and ear, and leads Walter Huston (Oscar-nominated) and Ruth Chatterton click immediately with these (not always likable) characters. Huston racks his spirit trying to come up with ways of entertaining--and keeping a hold on--his selfish spouse, unable to reconcile the fact that maybe she's just a fixture in his life, no longer a great love. Excellent support from Mary Astor, an extremely young David Niven (as a shipboard gigolo), and Maria Ouspenskaya (also Oscar-nominated) adds to the immense pleasure of watching this classic drama. A knockout. ***1/2 from ****

"Dodsworth" has been on my short list of must-see films for decades, and I finally had my chance to see it last night. I'm still in awe. (Others have made cogent observations about the acting of the other principals in the cast, so I will confine my comments specifically to Walter Huston.) There are people who will complain that this film is "slow," that it is "boring," that "nothing ever happens in it." Too bad for them, because this is a master class in acting of the highest order.

It is difficult to pull off a film like "Dodsworth" without betraying its stage origins, but this one feels and moves like a movie, not a play. (Of course, its genesis is a lengthy Sinclair Lewis novel, but the contributions of the gifted Sidney Howard -- who adapted the novel for the stage and the screen -- cannot be overlooked.) Walter Huston, who also played Sam Dodsworth in the Broadway play, was that rarest of actors, equally adept at playing to the back row of the balcony and giving a quiet wink to another 20-foot-tall face on a movie screen.

Anyone can buff up and wield a sword or tumble from a parking garage after being shot eleven times. But it takes a truly gifted screen actor to make the mundane seem utterly real; to shade a line just so, to achieve perfect pitch with every gesture, every glance. Huston was just such an actor, who, if he is remembered at all today it as John Huston's father, or the "old guy" in "The Treasure of the Sierra Madre." Too bad again, because Huston was one of the finest actors in the history of American movies. He was not a movie star, but he totally embodied every role he ever played, and never gave a poor performance.

The narrative of "Dodsworth" is mature, intelligently handled material. It is impeccably directed by William Wyler. No one has ever remade it, though remakes have been considered. There are directors working today who could handle "Dodsworth," but it really merits more sophisticated treatment than the extensive nudity and profusion of strong language that would inevitably be written into a new script. It's much better left alone, and it deserves a far larger audience than it has ever had in the 68 years since its release.

"Dodsworth" is a disarmingly honest and frank depiction of a failed marriage, based on the Sinclair Lewis novel. Its naturalistic acting and its refusal to make its characters anything less than full-bodied human beings make it feel way ahead of its time. It's never mentioned along with other classic films of the period--probably because it doesn't have an epic scope--but it should be.

Walter Huston gives an absolutely flawless performance in the title role. His type is so recognizable, even today: the successful American business man who values the simplest and most traditional of American values, and who comes across as provincial and crass to the rest of the world. Ruth Chatterton meets Huston's performance every step of the way as Dodsworth's wife, glad of the material comfort her husband can provide, but embarrassed by him and aware that he will prevent her from joining the world of high culture to which she wants to belong. It is to the movie's distinct credit that neither of these characters is either hero or villain. Dodsworth is crass and unsophisticated; yet at the same time he's honest and never misleads his wife into thinking he's something that he's not. Mrs. Dodsworth has a right to be bored by the kind of life Dodsworth is content with, but she might have thought of that before so readily accepting his financial success.

I don't really know for sure, but I have a feeling this movie might have made people very uncomfortable in 1936. I doubt married couples were encouraged to turn too critical an eye on their own marriages back then, and I suspect that more people than not decided to stick it out in unhappy marriages rather than violate a sense of social propriety. Before the days when people dated for a few years before getting married, many people probably learned about the kind of person they were marrying only after the wedding day. "Dodsworth" beautifully captures the sad, melancholy feeling of waking up one morning and realizing you're not married to the person you thought you were.

Grade: A