Picnic

Picnic was the second film that acclaimed stage director Joshua Logan did, adapting work that he had previously directed for Broadway. I absolutely marvel at Logan's sense of the cinema for someone who worked primarily in the theater. Had he concentrated on the screen instead, I'm sure Logan would have been as acclaimed as John Ford or Alfred Hitchcock or even Orson Welles.

William Inge's play Picnic is set in a small Kansas town where drifter William Holden comes to town to look up and old friend from college, Cliff Robertson. As it happens he arrives on Labor Day and the town is having their annual Labor Day picnic. In that 24 hours he changes the lives of all around him, mostly for the better. Especially the women folk.

Holden does a very good job in a role he was really miscast in. The part should have gone to Marlon Brando or James Dean or even Paul Newman. Newmwn was in the original Broadway cast, but in the Cliff Robertson part. The lead was done by Ralph Meeker.

The women of all ages go for Holden unbridled sexuality from Verna Felton, Betty Field, Rosalind Russell, Kim Novak, and Susan Strassberg in descending order of age. They all kind of like him, but Holden goes for Novak who's Robertson's girl. I think you can figure the rest of it out.

Arthur O'Connell as confirmed bachelor/boyfriend of Russell got an Academy Award nomination for Best Supporting Actor, but lost to Jack Lemmon in Mister Roberts which incidentally was directed by Joshua Logan on Broadway and uncredited for the screen when John Ford left the film. But the performance that was absolutely the best was that of Rosalind Russell as the schoolteacher who's approaching what would be called spinster hood and not liking it a bit. She's sending out a booty call to Holden that is unmistakable.

In her memoirs Russell said that when Logan asked her to take Eileen Heckart's part from Broadway, he didn't even get to finish the sentence when she agreed. Picnic was playing on Broadway the same time she was doing Wonderful Town and she admired the play by Inge and the work of Joshua Logan very much.

I like the individual performances in Picnic, but even more I like the way Logan used the whole town of Hutchinson, Kansas where the film was shot on location as a stage setting. One of the best transferals from stage to cinema ever and it sure helped to have someone at the helm who knew the property and knew how to accomplish his goal.

Picnic is a great view of America in the red states in the Eisenhower years and should not be missed.

I like the surface simplicity of this movie, beneath which lie important questions: Can we be free of our ancestors' demons? Can love between two emotionally crippled people be healthy?

Madge and Hal are -- probably tragically - made for each other. Each is a product of a broken home. Each wants to create a life worth living, despite family history, circumstances, and friends who expect little of them. My heart goes out to both of them. (The sad truth is that Madge's mother's warning will probably come true.)

I love the ambiguity of the movie's ending. I read that William Inge (or was it the screenwriter?) had originally had Madge return to her five and dime deadend job. I much prefer the ending that Mr. Logan chose.

Alcohol ought to be listed in the cast credits. It plays a big role at the picnic, and the effects of parental alcoholism pervade Hal's and Madge's lives.

Roz Russell the town schoolmarm and Howard the shopkeeper provide delightfully lighthearted counterpoints.

No car crashes, no karate. Just a simple story, simple setting, and timeless questions.

William Inge had his finger on the pulse of small town America. He wasn't checking the heartbeats of its inhabitants but his own. I've just said that as if I knew all about it and I don't, but I sense it. I mean, "Splendor In The Grass", "The Dark At The Top Of The Stairs", "Come Back Little Sheeba" That's all the evidence we need to know that he was a male writer with a woman's heart. "Picnic" epitomises that theory. Director Joshua Logan and writer Daniel Taradash trusted Inge's world without questioning it. Everything flows with the irrational sanity of a woman's heart. William Holden was a bit too old for the part but who cares! He is William Holden, capable to provoke passions of Mediterranean intensity at any age. He seems a bit self conscious at times and that helps the character's foibles no end. Kim Novak is breathtaking. Susan Strasberg milks her tomboy with a longing for all its worth. Betty Field, Daisy Buchanan in the original "Great Gatsby", gives a masterful performance without uttering a word that may reveal what she's actually feeling, until the end of course. That scene in which she tries to stop her daughter from going away, is as much Field's as it is Inge's. Rosalind Russell didn't get the Oscar for her superb, time bomb disguised in a school teacher's dress, performance. Her craving for sex and romance and sex and marriage and sex is as bold as anything she had ever done and Rosalind Russell new how to be bold from "His Girl Friday" to "Auntie Mame". The Moonglow sequence has become a classic moment in pictures. Deservedly so. I would suggest, if you haven't done it yet, take a trip through William Inge's territory. Familiar faces, familiar landscapes, familiar feelings, all completely new.

I just watched this with Mom who hadn't seen this before so we were both watching this with fresh eyes. William Holden plays a drifter who wanders into a small town hoping to reacquaint with college buddy Cliff Robertson who's the son of a grain company boss. Robertson has Kim Novak for a girlfriend, one who's tired of being valued for her looks as she's a shoo-in for winning the title occasion's beauty contest. Other female characters start having urges around Holden like the schoolteacher played by Rosalind Russell and the teen sister of Novak played by Susan Strasberg. Joshua Logan, who also directed the play version of this, helms this film version with quite a theatrical and cinematic flourish with a music score to match that makes it quite admirable if a bit over-the-top in some scenes. Still, the performances are very good with Ms. Russell and Ms. Strasberg particularly memorable. Also, Arthur O'Connell also was good as Ms. Russell's beau. In summary, both me and Mom highly enjoyed Picnic.

There are a few great writers of the overheated repressed and desperate from the theater and film world of the 1950's. At the top sit the two greatest, Tennessee Williams and William Inge. In a decade of conformity and great prosperity Inge and Williams tackled subjects ahead of their time. Of course they in some cases had to veil the subject matter but that lead to some wonderful revelations in writing and reading between the lines.

In this DVD from Colombia of Inge's Pulitzer Prize winning ‘Picnic' we have one of the best films of this genre of sexual repression, animal heat, and desperation in small town America. Most reviewers of this film might begin with the leads but I must start of with the wonderful Verna Felton as Helen Potts the sweet old lady who is caretaker of her aged mother and lives next door to the Owens family. This gifted and now forgotten character actress sets the tone of the picture as she welcomes drifter Hal Carter (William Holden) into her house for some breakfast. At the end of the film she glows in tender counterpoint to the dramatic ending. She is the only person who understands Hal, even more than Madge (Kim Novak). Her speech about having a man in the house is pure joy to watch. Her most touching scene is at the picnic when she tells Betty Field. `You don't know what it's meant to me having you and the girls next door.' It is a small but important performance that frames the entire story with warmth and understanding. Betty Field turns in a sterling performance as Flo Owens, Mother of Madge and Millie. She is disapproving of Millie's rebellious teen and smothering of her Kansas hothouse rose Madge. This deeply felt performance is a stark contrast to her lusty waitress in Inges `Bus Stop' the next year. A single Mom trying in desperation to keep Madge from making the same mistakes she did. She becomes so wrapped up in Madge's potential for marriage to the richest boy in town she completely ignores the budding greatness that is bursting to get out in her real treasure. Millie. Susan Strasberg creates in her Millie a sweet comic oddball. She is the youngest daughter who awkwardly moves through the landscape of Nickerson Kansas nearly un-noticed, reading the scandalous `Ballad of the Sad Café' - being the only one who is different and can't hide it. Her yearning to get out of the smallness of small town life is colored with the skill of a young actress with greatness her. Watch how she handles her most tender scenes with Kim Novak. Strasberg has a deep connection with Millie, an understanding of what it means to want to get out and yet want so desperately to fit in. Rosalind Russell nearly steals the show as the fourth woman in the Owens household boarder, Rosemary the schoolteacher. She is the living example of what Flo doesn't want Millie to become, a frantic, hopeless and clutching spinster. In the capable hands of Miss Russell we have a real powerhouse of a performance. She imbues Rosemary with all the uptight disapproval of a woman who knows that her time has past and there are very few options left. She is electric in her need for love. Every nuance of her emotions is sublime in her presentation. Just watch her hands alone. She is present down to her fingertips as this poor clinging woman. Floating above all of this is Madge Owens, the kind of girl who is too pretty to be real. The kind of girl who in a small town like this is not understood to have any real feelings or thoughts other than those that revolve around being beautiful and empty. Enter Kim Novak, who is just such a girl. Who could ever expect such a beauty to be anything more than just pretty? But Miss Novak, a vastly underrated actress in her day (as were most beauties of the day) paints a knowing and glowing portrait of Madge. Her explosion of sexual heat upon meeting Hal for the first time is internal and barely perceptible until she looks at him from behind the safety of the screen door the end of their first scene. It's as if that screen door is a firewall protecting her from the flames. This device is used again near the end of the film where the screen becomes something that keeps her and Hal separated from each other in a new way. At that point it is a safety net keeping them from sex by calling her home. Here she hesitates again to reveal her longing for him. She fights in the early part of the film to keep her sexual desire for Hal in check. That night she loses her fight at the picnic and we watch as she opens to reveal a woman of feelings and dreams so much deeper than the prettiness of her eyes or the luminosity of her skin. This is one of Kim Novak's early great roles and one she fills out with lush and deep emotion. The lives of all of these women of Nickerson Kansas are changed one Labor Day in 1955 when Hal Carter comes steaming into town. William Holden gives a raw and wounded portrayal to Hal, a man at the edge of his youth and on the verge of becoming a lost man. He lives as he always has, on the cache of his golden boy charm and his muscular magnetism. Holden was 35 when he made Picnic, a golden boy at the edge of his youth. He was perfect for the part. Some reviewers say he was too old to play Hal, but I disagree. Without being thirty-five in real life as well as in the story Rosemary's `Crummy Apollo' speech would not be so effective or devastating. Hal is a man 10 to 12 years out of college who never bothered to grow up, a man who never let anyone get too close for fear they might see through is bravado and discover his fears of feeling something, anything before it's too late.

Holden also brings a sexual heat to the film that is eons beyond the time it was filmed. He is presented almost like a slab of meat, something we were used to seeing in our female stars of the day, but not so blatantly in our men. He struts around in a pre-Stonewall dream of sexy hotness. Not only the girls in town notice him but a few boys too. (There are several layers to Nick Adams paperboy if one bothers to look.) When finally Holden sparks with Novak they blow the lid off of the uptight code bound studio-strangled world of Hollywood in the Fifties. The film is photographed magnificently in lush color and cinemascope by famed cinematographer James Wong Howe. The famous score by George Durning is classic not only for the famous reworking of the old standard `Moonglow' but for his virtuosity in dramatic power. This is a giant of a score from the silver age of film music. The direction by Josh Logan is perfect in every way and stands among the best of his work. The DVD has a few extras, more than most Colombia releases. However I want to point out that there is an excellent photomontage with music from the film to be found here. In watching the shots and listening to the accompanying score by Durning one can really appreciate his artistry as a composer. Finally, this is a very sexy film and should not be missed as a lesion in how really smart people got so much past the censors in an age of sexual repression and conformity.