Femme en péril

I realise that my passion for the Golden Age of Hollywood - the mid '30s to the mid '60s - has little to do with such popular genres as Westerns, Musicals and Film Noir; rather is it the Romantic cinema I adore. In the hands of a master director such as William Wyler the genre achieved greatness ( "Carrie", "The Heiress", "Wuthering Heights" and "The Best Years Of Our Lives"). Even works that are little more than good yarns ("Gone With The Wind", "All This And Heaven Too" and "Kings Row") leave me speechless with admiration for their sheer craftsmanship and style. I have to confess to swallowing with considerable pleasure what may be regarded as a by-product of the genre, Hollywood Gothic melodrama, the more outlandish the better ("The Spiral Staircase", "Dragonwyck" or "Ladies in Retirement"). When the genre depicted Victorian or Edwardian London as it so often did I am apt to experience frissons of delight ("Gaslight", "Moss Rose" or "Hangover "Square"). I thought I knew them all until one of our TV channels came up with one I had never heard of, John Sturges's "Kind Lady" of 1951. What a discovery! The eponymous heroine is played by that most commanding of Hollywood matriarchs, Ethel Barrymore, she of the gravel voice and penetrating eyes. It was rare for her to play the tormented party but somehow you know from the beginning that here is a character with the inner strength to overcome the wiles of her tormentors. If the film has a weakness it lies in Maurice Evans's rather colourless arch-villain. Although I have not seen the earlier version of "Kind Lady" I can well imagine the Basil Rathbone who played the part could convey evil with more sinister aplomb. But everything else about the film is absolutely right. Hollywood seemed to have a particular obsession with plots where villains attempted to drive their victims insane or else present them as insane to the rest of the world. If George Cukor's "Gaslight" is probably the finest example "Kind Lady" runs it a close second. With Ethel Barrymore's fine performance and excellent support from Betsy Blair, an amazingly young Angela Lansbury and John Williams as the solicitor who is bound to come to the rescue, superbly accomplished photography from Joseph Ruttenberg who did marvels with "The Great Waltz" and "Mrs Miniver" and a wonderfully lyrical score by David Raksin, to my mind the finest of all the Hollywood in-house composers, what more can one ask. Unadulterated pleasure!

In the last period of her life when the First Lady of the Theater decided to join her brothers finally in Hollywood, Kind Lady was the only time Ethel Barrymore played the lead role. Parts were not readily available then and now for 72 year old leads. In addition Ethel's health was not the best. Margot Peters study of the Barrymore clan says that Ethel was not in the best of shape during the making of Kind Lady and production was halted a few times before it was completed. She was never again asked to carry a film, henceforth her parts would be supporting ones.

Her regal theatrical training stood her in good stead for the part of a genteel Edwardian widow who lives comfortably, but not ostentatiously in London at the turn of the last century. Still she's got some valuable paintings and antiques which arouse the interest of Maurice Evans.

Evans plays a ne'er do well artist who insinuates himself together with his gang in her home. They take the place of her real home staff and proceed to gradually strip the place and terrorize the old woman. Probably Ethel's real life frailties stood her in good stead in playing the part.

As for Evans he's one crafty villain, the rest of his gang consist of Keenan Wynn, Angela Lansbury, and Betsy Blair. This was Evans American screen debut. During his career Maurice Evans did not do much big screen work, preferring the stage and small screen. A lot of people consider his the best MacBeth ever done. But film audiences remember him best as Dr. Zaius in two Planet of the Apes films and television audiences know him as Samantha's father in Bewitched.

Evans and Barrymore are a well matched duo of classically trained stage performers who knew what to do in film as well. Kind Lady is well worth a look.

I saw this black-and-white chiller on tv when I was a boy, some 35 years ago. Yet I recall scenes from it as though I saw it only last week. Imagine a group of seemingly well-bred people, patrons of the arts, befriending you--but then locking you in your house as they move in, and then hearing them tell visitors that you are delusional and being cared for by them. The scene in which the elderly victim is continually taunted while being forced to pose for the painting of her portrait--a rendering that, when completed, is seen to have grotesquely distorted her likeness to resemble that of a haggard, insane woman--is particularly spine-chilling. Without exaggeration, this is a gripping drama whose suspense few (if indeed any) can match. I only hope that someday it appears on video, so that I can purchase it for my library.

Understated acting makes this production a gem. In the present world movie making is so slipshod as far as plots are concerned; however, I highly recommend this movie - the 1951 version - to anyone who loves old movies. Isn't Ethel Barrymore wonderful? and Maurice Evans is scary. Did anyone pick up on the fact that Rose's sister, Mrs. Harkley, is actually Angela Lansbury's mother, Moyna MacGill? I heartily recommend this wonderful movie.

A kindly old dowager takes a penniless artist into her lavish household, only to find out he's got his own plans.

For a filmed stage play, the movie surprisingly never drags. That's a tribute to a tight screenplay and excellent staging. For example, catch how director Sturges in the first confrontation scene positions the four intruders in the foreground so they appear now to loom over the exasperated old lady (Barrymore), symbolizing their gradual reversal of authority. Then too, Sturges has basically only a single set to dramatize with, a real staging challenge.

However, the movie really belongs to the mild-looking Evans (Elcott) who manages an effortless study in civilized evil. His manipulations are so understated that his malignant nature sort of creeps up on you. It's one of the slyer incarnations in the history of bad guys. And get a load of the Edwards family, with the shrill Lansbury, the hulking Wynn, and the bratty Aggie. They're household help from heck, and we know Barrymore's in big trouble when this British version of The Beverly Hillbillies walk in the door.

Anyway, the tension stays on high as we feel trapped along with the kind lady. All in all, the movie's a minor gem of claustrophobic suspense.