The House of the Seven Gables

THE HOUSE OF THE SEVEN GABLES (Universal, 1940), directed by Joe May, is not a biographical story of movie actor, Clark Gable along with six other members of his family, but a screen adaptation based on the 1851 novel by Nathaniel Hawthorne about a family curse involving a mansion known as Seven Gables. Featuring Vincent Price, Nan Grey, Cecil Kellaway and Alan Napier, actors who were recently featured in THE INVISIBLE MAN RETURNS (1940), this reunion cast, headed by George Sanders and Margaret Lindsay, is not a horror story though the curse pitted upon the dark and gloomy Seven Gables and its outcome might be its only link to horror.

Rather than include a re-enactment to the opening chapters of the book to extend the 89 minute movie into two hours, the movie opens with a Forward note before the story begins: "In the middle of the 17th century in New England, there lived one Colonel Jaffrey Pyncheon, a powerful leader of the colonial government. In order to acquire a valuable piece of land, Pyncheon cold-bloodedly accused its owner, a simple carpenter named Matthew Maule, of practicing Witchcraft. The innocent man was promptly condemned to hang from the scaffold,. Matthew Maule had hurled this curse, "God hath given him blood to drink! Definitely Colonel Pyncheon built his mansion on the dead man's ground. On the day of its completion, he was found dead in his new library - blood trickling from his mouth. His descendants lived on at Seven Gables. Succeeding generations of villages cling to the belief that "Maule's Curse" dwelt there with them." Then, 160 years later on a September night in 1828 - at the House of Seven Gables. Hepzibar (Margaret Lindsay) is introduced as a free-spirited girl engaged to marry Clifford (Vincent Price). Clifford's relationship with his brother, Jaffery (George Sanders) finds them divided upon the announcement by their father's (Gilbert Emery) decision to put up their bankrupt home of Seven Gables up for public auction. Though musician Clifford intends on moving to New York with Hefzibar after they get married, Jaffrey, believing there's a hidden fortune of gold connected with the house, is upset about the news. A violent verbal argument between Clifford and his father, who has disinherited him, ends up with the old man staggering and dying of a heart attack. In order to retain Seven Gables, Jaffrey accuses Clifford of their father's death. His accusations convince the trial jury of finding Clifford guilty and sentenced to life imprisonment in the state penitentiary. Because of this, the now embittered Hepzibar, who has acquired the deed of ownership by the family lawyer (Cecil Kellaway), not only does she forbid Jeffrey from Seven Gables, but boards up the house, living in seclusion. Twenty years later, 1848, Phoebe (Nan Grey), Hepzibar's young cousin, moves in to the house after years of decay, and brings life into it again by setting up a Cent Shop. During the course of time, Phoebe becomes interested in Matthew Holgrave (Dick Foran), a boarder who happens to be a distant relative to Matthew Maule. As for Jaffrey, who hasn't given up hope in acquiring the hidden treasure of gold said to be somewhere in Seven Gables, intends not to stop at nothing to get it. Others in the cast include: Miles Mander (Arnold Foster); Harry Woods (Mr. Wainwright); Charles Trowbridge, Edgar Norton and Harry Cording in smaller roles.

Of the many screen adaptations to classic literature dating back to the silent film era, with the exception of an obscure 1910 short, this happens to be the only SEVEN GABLES movie produced during the days of classic Hollywood. As much as this adaptation elevated Vincent Price further exposure to leading man status, and the top-billed George Sanders gathering enough attention as the greedy and jealous brother, it's Margaret Lindsay who comes off best with her performance. Virtually underrated, yet talented actress when a good role comes her way, she is quite convincing with her early scenes as a happy young girl, and even more convincing later on as a bitter woman living a reclusive life while the man she loves is in prison. Her role might have been inspired by the talents of Bette Davis, who might have made the role of Hepzibar equally believable, though such changes in screen personality were already done in similar fashion by Davis in THE OLD MAID (1939). Now it was Lindsay's turn to act out her charm of hate and despair. Blonde Nan Grey, who comes in later in the story, is certainly a beauty to behold, and another one of the forgotten names and faces from the Universal contract players. Vincent Price even gets a rare chance of singing a song, "The Color of Your Eyes."

While many who have read the Hawthorne novel may find changes and deletions of characters from the book to become disappointed with the outcome, overlooking that, the final script is good enough to hold interest throughout. Formerly distributed to video cassette, and later available on DVD as part of the Universal vault collection, to date, THE HOUSE OF THE SEVEN GABLES, almost forgotten and overlooked, did have cable television showing such as American Movie Classics (1993-1999). Watch it for the screen adaptation by Nathaniel Hawthorne; the youthful Vincent Price years before his other house movie titles of HOUSE OF WAX (1953), HOUSE ON HAUNTED HILL (1959) and HOUSE OF USHER (1962) came his way; the sinister George Sanders; or the very fine performance given by the often overlooked Margaret Lindsay in a rare meaty role. (**1/2)

This film bears little resemblance to the 19th century Hawthorne novel (which may be a good thing, since nothing happens for about the first two-thirds of the book). On the other hand, this film could have been a whole lot better. Still, it's a decent way to kill 90 minutes.

George Sanders gives his usual performance as a pompous scumbag trying to cheat brother Vincent Price out of the family fortune, even though the family is bankrupt. When their father suddenly dies during an argument with Price, Sanders accuses his brother of murder. The jury convicts Price without deliberating. Ah, the good old days of law and order. Decades pass and Price's sentence is commuted, all while his fiancée, played by Margaret Lindsay, has changed from a beautiful girl to a sour old crone, teased by passing teenagers, as she locks herself away in her grief and loneliness. This hasn't attenuated Price's love for her, though.

Sanders and Price spend the film trying to out-ham each other, with neither succeeding. Price does get to sing while pretending to play the harpsichord. There is an unnecessary subplot concocted by the screenwriter involving abolition and Sanders making money off the slave trade. I guess somebody felt his character wasn't repulsive enough.

Margaret Lindsay is the most persuasive performer in The House of the Seven Gables. While I know that most film fans will be more interested in the participation of George Sanders and Vincent Price as part of the cast, I think it can be argued that this film may well have been the highlight of her career as an actress. She has a dominant role in a class "A" production and neither of her more illustrious male co-stars dwarf her.

The only way to see this other than a chance showing on Turner Classic Movies and the rare illicit posting on youtube is the Universal Vault MOD, and it really is quite gorgeous. I'd suggest it if you can afford it.

Being a big fan of the book, I was avoiding this film for a LONG time. The first half hour of the film would lead a fan of Hawthorne to conclude that the screenwriter had never even READ the original novel.

However, the screenwriter in this instance simply wanted to spend the first 30 minutes dramatizing the 'back story' that Hawthorne only alludes to in the book. Jaffrey and Clifford are now brothers, not cousins. Clifford and Hepzibah are now lovers, not siblings ... and the details surrounding the murder of Clifford's father (his uncle in the book) are slightly different, but the movie is only 90 minutes long, and the film simplifies the plotline without erasing the POINT.

Some of the acting (Margaret Lindsay as Hepzibah, for example) is so brilliant, it makes you want to cry. The scenes that depict Phoebe's arrival to Seven Gables (Chapter 2 in the book, almost halfway through the film) are incredibly well acted. Other moments in the film are so badly and broadly acted, it's laughable. At the scene of the first murder, the camera actually does a quick pan to Margaret Lindsay in the doorway, biting her knuckle. Oy gevalt.

As is usual, reading the book is more of a challenge (not everyone enjoys Hawthorne's prose), but ultimately a MUCH richer experience. For a product of its time, however ... the film does itself justice.

Vincent Price and George Sanders are reasons enough to see any film on their own, and were often high points in their lesser films. Seeing them in the same film together, like in 'The House of the Seven Gables' is even more of a pleasure. The source material is wonderful, wordy but very richly immersive and compelling.

'The House of the Seven Gables' may not be the greatest film in adaptation terms, there is not a whole lot of Hawthorne here, but as a film on its own terms it's well worth your while as long as it's not constantly compared to the book. 'The House of the Seven Gables' did need a longer length, would have given it at least another thirty minutes myself, to do justice to a story that is pretty complex even in the film and give the characters more depth, because parts did feel rushed.

Could have done personally without the abolition subplot, or at least made it less prominent, it was intriguing enough at times but it seemed to be there only to make Jaffrey more loathsome. That wasn't necessary as it is blatantly obvious that he already is even without it. While the acting is very good actually, there are a few individual moments where it is somewhat dodgy. The biggest offender is Jaffrey's final scene, which was wildly over-acted (rather unusual for George Sanders) and overly-melodramatic (even for a melodrama).

However, 'The House of the Seven Gables' has a sumptuous Gothic look throughout, particularly in the photography and lighting, with the house suitably mysterious and imposing and with elegant costumes. It may not have been made on a huge, lavish budget, but it was not that kind of film really, and there is nothing in the production values to betray that the budget was not a large one. The music is like its own character, adding so much to the mood of the film while also being a wonderful score on its own. The song Vincent Price sings (yes it is him singing and he sings pretty beautifully here) is a charming touch.

Direction is efficient and a vast majority of the time is in complete control of the material, with a few parts where the control is lost a little (Jaffrey's final scene especially). The script is thought-provoking and literate, Hawthorne's prose is compressed but the script here is no less interesting. Although rushed and in need of a longer length, the characters lacking depth and one subplot in need of a trim, the story has a rich atmosphere and is very absorbing.

With a few individual scene exceptions, the acting is very good. George Sanders is deliciously caddish, Sanders was an unparalleled master when it came to acting playing cads. Vincent Price has the more rounded character and is more restrained, and all the better for it. Margaret Lindsay is a knockout, her character transformation (of the three leading characters she transforms the most) is beautifully done, and more than holds her own against the two masters.

Overall, well worth your while. Just judge it as a film on its own rather than as an adaptation. 7/10 Bethany Cox

I was absolutely knocked out by Margaret Lindsay's (NOT Lockwood !!!) bravura performance in this film. It is inconceivable that she wasn't nominated, but 1940 was one of the most competitive Best Actress years ever. She ran the gamut from lovely young girl to pinched spinster. Her range was worthy of Bette Davis (with whom she co-starred many times). I loved the film itself also, and was inspired to read the book, which I loved as well. Miss Lindsay should have received more comment from students of good acting in all these years since the film. She definitely gave one of the finest performances I have ever seen by an actress in the movies, and I'm 63 !