Way Down East

The ending is amazing. How simply and accurately the snow storm reflects the human affairs. You cannot but think of King Lear - that is what a Henry King movie is, a stair to the classics. But this time there is an American happy ending - we sincerely hope the world has changed to the better since Shakespeare's time 500 years ago.

Interesting character studies of a Maine farm family and the young woman they take in without knowing her background. The villian of the piece is from the upper classes, although not without some redeeming characteristics. The movie's climax is set on ice flows on a raging river and had me totally caught up in the action (felt pretty cold, too!) A good chance to see Henry Fonda before he had fully settled into his familiar persona.

One of the things that struck audiences about the fresh faced Henry Fonda in the first years of his acting career was the fact that his persona, rather than his acting, represented the spirit of America. In films like this one, you don't go away thinking what a great actor Henry Fonda was, but you do feel that he embodied how Americans saw themselves at that time. It's almost as though nature had imposed itself upon him and made Henry Fonda the victim of hero worship. I personally don't think that he brought anything to this film except a fresh face. He was noticed by John Ford who also saw in him the face of America, and exploited it in subsequent productions.

This one is from Fox and director Henry King. In late 19th century Maine farm country, a young woman named Anna (Rochelle Hudson) arrives at the farmhouse of the Bartlett family looking for work as a maid. She's hired by the stern patriarch Squire Amasa (Russell Simpson), and proves a great help to his wife Louisa (Spring Byington). It isn't long before the Bartlett's son David (Henry Fonda) has fallen in love with Anna, but she's hiding a dark past that may prevent their future together.

This can't match up to the silent version, but it has its good qualities. Hudson proves to be a good actress in a more demanding role than many she had at the time, and Fonda, in his first year in movies, is handsome and believable as a farm boy in love for the first time. The film's greatest asset is the tremendous supporting cast of great bit players, many of whom you'll know the faces of if not the names. Wicked Witch Margaret Hamilton has one of her better parts as the town gossip who's chasing after store-owner Slim Summerville, and Al Lydell is a hoot as an ancient old man always looking for a handout of liquor or tobacco. The end scenes set on a frozen river don't match up to the silent version, but that one almost killed the stars of the film, so perhaps it's better that they were a little more safety conscious this time, even if the results left something to be desired.

Way Down East (1935)

* 1/2 (out of 4)

Watered-down, lame and at times laughable remake of D.W. Griffith's 1920 epic has Rochelle Hudson playing Anna Moore, a woman who goes to live with a family in Maine and hiding a secret. The family son (Henry Fonda) eventually falls in love with Anna but she refuses to take his hand due to her secret but soon a nosy fool (Margaret Hamilton) finds out the truth. Before viewing the film I had heard a few quotes from director King and he didn't hide his feelings and admitted that this wasn't the greatest film out there. After viewing the movie I had to wonder if he even tried to come up with anything entertaining as this movie is a complete dud from the first scene to the last one. I was really shocked at how boring this movie was but then again it was produced after the pre-code era, which meant that a lot of the more frank situations and dialogue had to be cut. Another major problem are some of the performances, which range from bad to downright terrible. Hamilton will always be loved due to her role in THE WIZARD OF OZ but she's quite bad here. Just take a look at the scene towards the end when Anna is getting kicked out of the house and how over-the-top and silly Hamilton is. It seems like she's acting in a comedy because her performance is bound to get laughs from pretty much anyone who sees it. Another bad performance comes from Russell Simpson as the old-fashioned father and Edward Trevor isn't much better either. Hudson tries her hardest to recapture the spirit of Lillian Gish but doesn't even come close. Fonda comes out the best but even he has some rather bad moments including one inside the cabin towards the end of the movie when he hears about Anna being close to the frozen river. Anyone who has seen the Griffith version knows that the ending on the ice was the greatest thing about it. I'd say it's one of the greatest moments in film history so how does this remake hold up? Well, it certainly doesn't come close to the original film but it's got a few decent moments. How they have the characters jumping from one float to the other doesn't work and there's never any suspense but the scenes of the ice actually breaking does work. Another problem with the film is that it starts nearly where the 1920 version was already an hour in. We never get to know Anna, feel for Anna or hear any of her backstory until much later in the film and by then you're really bored with her and don't care anyways. I really wasn't sure what to expect from this movie but it's easy to see why it's pretty much been forgotten as it not only lacks when compared to Griffith's original film but it lacks pretty much to everything that was being made around this time.