Le Lys de Brooklyn

A long time ago when I was still working in an automotive shop I taped this movie from KTTV at about three o'clock in the morning, bad reception and commercials and all. The whole thing was a revelation to me. Why, in my years of enjoying all sorts of classic movies at revival houses both in New York and here in Southern California, had I never heard of this movie? For the next three weeks I believe I would come home and watch it almost every day. As an adult child of an alcoholic father, this film moved me in a personal way that I don't think I can even fully investigate, it's just too basic for words. But in terms of cinematic quality alone, this film is a masterpiece. No matter what Elia Kazan did since, we have him to thank for this movie. There is not one false note in the whole of this movie; every actor IS the character they play, most especially Francie Nolan, played to absolute perfection by Peggy Ann Garner. The black and white cinematography is used to its best advantage, the sets are perfect, the music -- contemporary tunes playing along in the background by a rickety-sounding little orchestra -- just "there" enough to provide the auditory backdrop that is the soundtrack of the times, and the emotional intensity and pacing is even, never heavy-handed, and consistent from beginning to end. This is probably the most perfect and authentic film of the black and white era. Hopefully the reason 20th Century Fox has delayed the DVD release is that they're enhancing the package with some special features that devotees of this movie like myself will really enjoy. When the movie came out on VHS I ran to buy it. It will be the same with the DVD.

A youngster (Peggy Ann Garner) in circa 1900 Brooklyn dreams of a suitable education and ultimately a better life. She and her young brother (Ted Donaldson) experience highs and lows as their lives are followed in a documentary-style format that creates a realistic and compassionate view. Poverty is tough in the area though as mother Dorothy McGuire (in arguably her greatest role) and father James Dunn (in one of the finest performances ever captured on film, he deservedly won the Best Supporting Actor Oscar in 1945) have a hard time making ends meet. McGuire has a difficult time seeing the bright things in their lives, while Dunn (a hopeless alcoholic) treats everyone, including strangers on the street, with love, respect and understanding. Dunn sees greatness in Garner, even when most do not, and does his best to see that her hopes do come true. The title is symbolistic as a large tree in front of the family's low-rent apartment is about to be cut down to their dismay. It also refers to the fact that Garner is growing up and showing maturity way beyond her years; she is literally branching out and letting her leaves flourish. First-time director Elia Kazan arguably does the best work of any film-maker who had never completed a feature previously as he just lets Betty Smith's wonderful novel unfold methodically with a deliberate pace, tone and style. The screenplay yielded Oscar nominations for adapters Frank Davis and Tess Sleringer. Dunn, an actor who had a very pedestrian career, showed just how much of a hidden talent he really was. He is the straw that mixes the entire movie into an American classic. Arguably one of the top 10 films of the 1940s and one of the best features of all time. 5 stars out of 5.

What a magnificent motion picture! Dorothy McGuire and Peggy Ann Garner give the greatest mother-daughter performances of all time. Betty Smith's book is a classic, and this film somehow manages to do it perfect justice in the first movie ever directed by Elia Kazan.

In many ways I feel privileged to be able to comment here because I may be the only "reviewer" in these pages to have been in Brooklyn very close to the time of this film (I was born in 1909). The film recaptures the feel, the mores, the neighborhood so magnificently, it is incredible. Every time I watch this movie, I feel as if I am revisiting my youth, albeit an idealized version.

Everyone who watches this movie should share it with the next generation of moviegoers. It truly is timeless.

A TREE GROWS IN BROOKLYN (20th Century-Fox, 1945), directed by Elia Kazan, from the book by Betty Smith, is a nostalgic look back to the days when Hollywood used to produce moving family stories and true to life characters, at the same time recapturing the life and times of old New York, in this case, Brooklyn, as seen through the eyes of an adolescent Irish girl named Francie Nolan. While the screenplay doesn't reproduce the entire book from which it is based, it does capture the essence and mood, ranging from hardships and heartaches of a poor Brooklyn family and their struggles blending in with the good times during the early part of the Twentieth Century.

Opening with an eye-view of early Brooklyn with horses pulling the food carts through cobblestone streets, trolleys passing by ringing the bell, clothes hanging out to dry over the back alley of apartment buildings on the line connected from one fire escape to another, the first half hour gives an insight look into the livelihood of the Nolan family: Katie Nolan (Dorothy McGuire), an embittered wife and mother who must scrub floors in order to support her family; Johnny (James Dunn), her happy-go-lucky husband who just can't seem to find time to earn a living but does take the time to cater to his children, particularly his "prima dona" adolescent daughter, Francie (Peggy Ann Garner); Francie finds the world a fabulous place to grow up in, and like President Abraham Lincoln, wants to learn everything about anything by reading books; Neely (Ted Donaldson), the youngest, would just rather enjoy himself playing in the streets with the other kids than going to school. While Francie and Neely are total opposites, they are typical brother and sister, having their differences but showing their devotion for one another. Their dad, Johnny, a singing waiter by profession, is a caring soul with a weakness for drinking and gambling. His wife, who feels him a failure, would discover, at his funeral the abundance of people in attendance, that anyone with as many friends as he had was not a total failure at all. Since Johnny was taken for granted by both his wife and son, Francie is one who looked up to him as someone special. Another member of their family looked upon with great fondness by the children is their beloved and fun- loving Aunt Sissy (Joan Blondell), whose past reputation doesn't go well with sister, Katie.

At 128 minutes, there's bound to be slow spots, but with those slow spots comes some great highlights: The Nolan kids visits to the local meat market telling the butcher their order for what "Momma said"; Francie reading a book on the fire escape and observing everything going on around her; Johnny singing a traditional Irish song, "Annie Laurie"; The Nolan kids obtaining a Christmas tree from a street vendor (B.S. Pully) on Christmas Eve followed by the family togetherness on Christmas Day; Aunt Sissy taking Francie to a secluded place in the school building after the girl receives her graduation gift (flowers), arranged several months ago by her father, now deceased, so she can have herself a good cry; and Officer McShane (Lloyd Nolan - excellent) nervously proposing to Widow Katie Nolan so he can provide for her and her new born baby; and one on the rooftop with Francie and Neely overseeing the city of Brooklyn, looking back with fondness to the times they had together, putting those memories behind them.

With Peggy Ann Garner being the main focus here, she deservedly won a special Academy Award for her natural performance. James Dunn (1904-1967), a veteran actor of Fox Films best known for his roles opposite Shirley Temple in the mid 1930s, makes a temporary comeback in a major motion picture that earned him a much deserved Academy Award as Best Supporting Actor of 1945. Along with Garner, Dunn was not only a natural, but born to play his role, that of Johnny Nolan. Let's not overlook Joan Blondell, another screen veteran, giving one of her best performances of her career that should have been honored an Academy Award nomination as Best Supporting Actress. Along with Dunn, Blondell's chemistry with the children is not only natural, but highly memorable.

In smaller but not entirely unimportant roles are Lloyd Nolan (Officer McShane); James Gleason (Mr. McGarrity, the neighborhood barber); John Alexander (Steve Edwards, Sissy's latest husband); Ruth Nelson (Mrs. McDonough, Francie's teacher who inspires her to become a write); and J. Farrell MacDonald (Carney, the junk man). That distinctive voice of the Christmas tree vendor belongs to B.S. Pully. And who can forget boy actor Ted Donaldson's distinctive Brooklyn accent, adding the flavor to character.

A TREE GROWS IN BROOKLYN might have been filmed at the back-lot of 20th Century- Fox, but it does have that Brooklyn flavor to it (particularly with the organ grinding score to "Rings on Her Fingers" and other popular tunes of the day. Author Betty Smith recaptures everything there is to the old New York and the characters she created, while Elia Kazan, making his directorial debut, successfully brings all this and the characters to life.

A TREE GROWS IN BROOKLYN (in reference to a tree in the back lot of the apartment) was distributed on video cassette in 1991. Other than becoming a late show favorite on commercial television from the 1960s to the 1980s, especially on Christmas Eve, it has later enjoyed frequent revivals on American Movie Classics cable channel for many years before turning up on the Fox Movie Channel and Turner Classic Movies where it premiered February 8, 2009. In spite of a 1974 television movie remake, the 1945 original remains an unsurpassed movie gem. Why? Because, "Momma said." (****)

All one needs to view this 1945 near-masterpiece is an appreciation for brilliant film-making. I assure you, you will lose yourself completely in the story of the Nolan family, a humble, impoverished Irish-American family holding on by mere threads in 1900 New York. Director Elia Kazan's first film experience is often overlooked by his magnificent cinematic efforts in years to come (`A Streetcar Named Desire' and `East of Eden'), which is hardly fair. So much heart has gone into this emotional piece of Americana –- notably its flawless attention to detail and its ultra-sensitive, Oscar-nominated screenplay -- that it deserves equal attention. Superb in every aspect.

`A Tree Grows in Brooklyn,' from Betty Smith's poignant novel, is able to capture the essence of the author's words not only because of its trenchant

writing, but because of three remarkable, beautifully-realized performances. Peggy Ann Garner offers one of the most astonishing child performances ever, finding the very spirit of this 12-year-old child going on 21. Blessed with one of the most expressive faces witnessed on camera, her eyes are sheer poetry and alone speak volumes as Francie, a young girl devoted to her ailing, debilitating father and brutally distant from an unnurturing mother she partially blames. It is such a complete performance. Her steadfast growth in this film is beautiful to observe as she begins to spread her branches and assume her rightful place in life sooner than expected. Garner is simply unforgettable.

James Dunn, as Jimmy Nolan, leaves an indelible impression as the amiably charming ne'er-do-well, a solitary dreamer who has frittered his life away, as well as his family's money. Despite the cruelties of his actions, your heart aches for this man. His touching scenes with daughter Francie reveal his innate goodness and its heart-wrenching to watch him dissolve before your very eyes. Even a treasured bond with his idolizing daughter isn't enough for him to fight hard enough to forego the liquor bottle and regain his place at the head of the table. It is an unbearably sad decline, one that haunts you long after the picture is over. Both Dunn and little Peggy Ann would never find movie roles like these again, and earned well-deserved Oscars (Peggy actually copped a 'special juvenile' award) for their work here.

In an exceptionally careful and astute performance, Dorothy McGuire plays the necessary heavy here, the taciturn, seemingly cold-hearted matriarch Katie Nolan, who is also this family's hope and salvation. Unable to trust her husband or afford him the time and patience he desperately needs, she has ultimately abandoned her love for him out of necessity, what with two children and a third on the way, and no viable means to support them. Ms. McGuire, in a career best performance, serves up a somber, beautifully restrained portrait of a flawed, modest, uneducated, somewhat ignoble woman handling life the only way she knows how, and expecting little in return. McGuire, who was only 27 at the time this was filmed, easily nixes any comments that she is too young for the part by displaying a strong, careworn maturity well beyond her years.

Joan Blondell, as only Joan Blondell can, puts some oomph in the drab and dreary proceedings as Katie's gregarious sister, Sissy, who juggles husbands in her ever search for the right man, and earns the scorn of the town in her reckless, law-breaking pursuit. Blondell manages to give the film a breath of fresh air everytime she appears, though her character's development is choppy in its transition. Her story, unfortunately, gets lost midway and never truly kicks back in. Little Ted Donaldson as younger brother Neeley contributes fine work also, but is another victim of the primary focus the film decides to takes -- Garner's Francie is rightfully the heart and soul of the piece and she is quite up to the task.

Despite being robbed of a best picture that year (I mean, really, "Anchors Aweigh" and "Mildred Pierce" were nominated over it??) and the fact that Ms. McGuire was overlooked completely, it is slowly earning the attention it deserves. It should be in the top "20" of anybody's movie lists. For me, this movie is most effective come the yuletide season. It is that touching and meaningful.

The 1974 TV-remake of "A Tree Grows in Brooklyn" starring Cliff Robertson and Diane Baker is a mere sapling compared to this giant oak of a film.