Madame Curie

This is the biography of the Curies, who discovered radium. This one gets off to a fine start as the socially awkward scientist Pidgeon finds himself drawn to Garson, a student with great scientific aptitude. Having worked with each other so often, the two stars have terrific chemistry (and physics?) and are quite believable in the roles of the famed scientists. Then comes the experimentation that lead to the discovery of radium and the concept of radioactivity. This is fascinating stuff but does not make for great cinema, causing things to bog down in the latter parts of the film. Still, it's a handsome production that's well worth watching.

This picture illustrates everything wonderful about the confidence, expertise and narrative power of Hollywood films near the end of the classic period: it is entertaining, intelligent and carefully made in every department. A smooth celebration of scientific theory and of the romantic partnership of two scientists.

The first third of the film is in many ways the best: a very funny and sensitive depiction of the courtship of two gauche scientists. Often filmed in long-shot on beautifully detailed, cavernous sets, we see Garson and Pigeon sometimes isolated in space, sometimes haltingly moving through crowds, tentatively finding their way to each other. Though Mervyn Leroy could be a stolid director, here he shows great delicacy and judgment and he perfectly sets a mood of gentle comic romance.

The middle third deals with the engrossing scientific mystery that led to the discovery of radium. The lightness of touch and the humor of the first third are not entirely abandoned here, but there is a greater seriousness and a kind of reverence for knowledge and scientific endeavor that is virtually absent from films today (the exception would be A BEAUTIFUL MIND, which I kind of hated). There are some striking visuals, including a tracking shot across hundreds of bowls of evaporating chemicals and a haunting image of a glowing dish of radium in a large, dark shed.

The last third is the dullest and most conventional portion of the film: fame and celebration for the Curies and a renewal of their love just before Pierre died prematurely in a traffic accident. The high point here is what surely won Pigeon his Oscar nomination for Best Actor: the speech to a jeweler in which he describes the beauty of his wife just before his untimely death. There is also the evocative image of a wet umbrella broken under a wagon wheel.

Of course, what you think of this idealistic, creamy and sure-footed vehicle (which must have packed 'em in at Radio City Music Hall) depends entirely on what you think of Greer Garson, as well as your opinion of the popular Garson-Pigeon screen team. Their looks and personalities were perfect matches, templates of feminine and masculine 'virtues'. There was nothing sexy about them but they suggested a platonic ideal of what every child would wish their parents to be. They were the last stars to make middle age look glamorous and desirable.

As for me, I like her. Her mannerisms are kept to a minimum in this restrained performance. The famous tinkling laugh, the arched eyebrow, the flaring nostrils -- so overused in some other films -- are not much in evidence here. But her best qualities are: the sense of intelligence, of quiet watchfulness, self-possession, dignity and tact are all here. The source of her screen personality has always seemed sane and tranquil, relaxing to watch and finally, to me, admirable. I can understand why some people (like critic Pauline Kael) felt that Hollywood's ladylike stars presented an outdated, oppressive ideal for women. But from this distance, Garson's confidence and ease, her capability, her self-containment all strike me as civilized and even sophisticated traits. She played grownups, and we have never had enough of those on screen . . .

Here we have Greer Garson in the kind of role that would later inspire that wonderful sequence from 'Ziegfeld Follies' (the 'Madame Crematon' impersonation by Judy Garland, a rip-off of Greer in her great lady roles). But, surprisingly or not, Garson and Pidgeon are teamed in a very eloquent and moving biography, one of the more tasteful and dignified bios of the 1940s considering it deals with subject matter not conducive to popular taste.

Their long work in the laboratories finally leads to the discovery of radium--and this is the fascinating story of how they met and married and indulged in their lifelong pursuit of discovery. A young and rather miscast Robert Walker plays a fellow lab worker. Van Johnson has a few brief moments toward the end, as does Margaret O'Brien. But the focus is on Greer Garson and Walter Pidgeon and they both deliver Oscar nominated performances.

This is one of the better screen biographies and one that has been sorely neglected over the years. Watch for my career article on GREER GARSON to appear in an upcoming issue of FILMS OF THE GOLDEN AGE.

The story of Marie Curie who at the beginning of the film is a Polish student at the Sorbonne who is given the opportunity for working with Dr. Pierre Curie on his experiments when the two learn of a fellow professor who has found a rock that seems to give off its own light and energy despite being deep underground for centuries. The two find that it must contain a new element, more radioactive that uranium. The two are able to isolate the new element despite the hardships of inadequate lab equipment, the birth of a young daughter, their colleagues questioning their work, and numerous failed experiments. Excellent film dealing with the hard work of the Curies and the realization that hard work and commitment will pay off (nice ideal during the war years). Garson and Pidgeon build on the great chemistry the two had in Mrs. Miniver, and are helped by an excellent supporting cast. The screenplay and LeRoy's direction do each other perfect justice by combining the romance and drama superbly. Rating, 8.

Hollywood did a lot of biography pictures in the 1940s. Most of them were awfully good, though a little bit too idealized. Almost all were pretty entertaining. Among them, there are some standouts, such as Dr. Ehrlich's Magic Bullet and Madame Curie. This film was reasonably faithful to her real story, though most notably Greer Garson was a tall lady and Ms. Curie was, according to everything I have read, a tiny little woman. And, thankfully, the MGM people didn't change how her husband died (such as having him survive in order to give the movie an upbeat ending). So what we have is a good primer for kids and teens about the accomplishments of this great lady.

Garson and Pigeon did a nice job--give it a try.