The Girl in the Red Velvet Swing

Like the person that preceded me on this thread, I, too, saw this movie on the True Stories Channel, just this very morning. Over the years, I had seen bits and pieces of it, before, but never the whole movie in its entirety.

With that said, I must admit that I am a HUGE (!!!) Joan Collins fan, so it's doubtful that I would've subjected myself to the movie's excruciatingly slow pace had it NOT co-starred "Joanie." I mean, I've followed "Joanie's" career through muck ("Empire of the Ants") and mire ("The Girl in the Red Velvet Swing"), so I can honestly say that "Joanie" MAY star in bad motion pictures, but she NEVER gives a bad performance!

Yes, I agree with the other posters, Ray Milland DOES, indeed, deliver a VERY bland and wooden performance as architect, Stanford White. However, much the same thing can be said for Farley Granger, too, in the villain's role of Harry Thaw. While I can't speak for Granger, I feel I must stand up for Milland: In 1945, under Billy Wilder's superior direction, he won a much-deserved Oscar for his performance as an alcoholic in "The Lost Weekend." So, for his lackluster performance in this movie, I place the blame on the director, Richard Fleischer.

Look, this movie was supposed to be a break-out role for "Joanie." Alas, it wasn't to be. Sure, she'd go on to make other "A" movies, like "Land of the Pharaohs" and the rare Paul Newman clunker, "Rally 'Round the Flag, Boys!" However, after the final Bob Hope/Bing Crosby road movie, "The Road to Hong Kong," "Joanie" was lucky to get work in TV shows like "Batman."

Fortunately, OUR "Joanie" is a SURVIVOR! Super-producer, Aaron Spelling, remembered her from his salad days, and cast her as the Super-Bitch, "Alexis Carrington," in his night-time soap opera, "Dynasty," and the rest - as they say - is history!

Richard Fleischer remains one of the most underrated of the American directors.His influence is huge,particularly in Europa:Chabrol's last movie "La Fille Coupée En Deux" is a disguised remake of "girl on the red velvet swing" -and not nearly so good.His movies dealing with criminal affairs are all interesting and form,in spite of their differences ,a well-knit group:"Follow me quietly" "Compulsion" "Crack in the mirror" and his more accomplished works "Boston strangler" and " 10 Rillington PLace" ."The girl on the red velvet swing" ,in spite of its costume drama side,belongs to the genre too.We're told since the beginning it's a criminal affair.The title is a transparent metaphor:Evelyn is not only caught between two men;she is a proletarian ,close to French writer Colette's "Gigi" in the world of the wealthy and the mighty.One of her men doesn't want to divorce and to marry her ,not because she is young enough to be his daughter but because the world he lives in is not prepared to accept such a monstrous union.If she were a rich heiress ,the daughter of one his rich customers who have him built desirable mansions ,all would be forgiven .And if the girl marries a millionaire ,it's only because he is impotent ,under an over possessive mother's thumb :in an amazing scene the mother recognizes the facts.People who know Mankiewicz's "The barefoot Contessa" will notice the similarities between the two "rich" marriages .

Like Max Ophuls' "Lola Montès" ,when her family-in -law denies her,it only remains for her to make a spectacle of herself in a theater ,a place she should never have left.The two scenes in which the girl is on the swing are the most impressive ,with a dazzling camera:there's something disturbing in the first one,when the girl asks for the moon (true and figurative sense)..But "it's only a paper moon sailing over a cardboard sea...it's only a canvas sky..hanging over a muslin tree"

"I Love My Wife, But Oh! You Kid"...

Of course the Production Code limited depiction of the more lurid elements of this story, but it was largely due to Evelyn's participation as Consultant that "Red Velvet Swing" turned out as a nearly G-rated version of a very R-rated, even X-rated, story. We see Stanford White and Evelyn presented as something like star-crossed lovers-- oh, if only he'd been younger and single! Quite a fairy tale. Still, the picture makes it pretty clear that they made whoopee; watch for White's swing hanging empty, still gently swinging...

White was a dissolute roué with a taste for Young Stuff, and didn't scruple to drug the winsome Evelyn and 'have his way' with her while she was unconscious. Yuck. Nice start to a relationship. But after all, he was such a brilliant architect that such minor foibles could be overlooked, right? Milland's Nice Guy portrayal doesn't even include any attempt at a physical resemblance; the real White sported an enormous mustache. Possibly if a 'stache was tested, it may have been concluded that it made him look too much like a melodrama villain. In the 50s screen good guys were cleanshaven, no matter how historically inaccurate that might be.

As I understand it, White's hedonist lifestyle had so run down his health that at the time Thaw killed him he may have had only about six months to live. But Harry had the satisfaction of taking him down personally. We trust that it was worth the subsequent whirlwind... At least in the movie Evelyn permitted Farley Granger to play Harry Thaw as the unstable and abusive creep he was. It's rather chilling when his mother provides a tragic back story to excuse Harry's nasty nature-- but somehow it's still hard to feel much sympathy for him.

We see White trying to do the Right Thing by little Evelyn in sending her away to school. He actually did so, but not out of any noble motivation; he was getting her away from impossibly handsome John Barrymore, with whom she was deeply involved-- in fact the two were planning marriage.

I'm giving this six stars instead of fewer, because (despite flaws) the colorful turn of the century period re-creation is enjoyable (how about those watermelon petticoats in the cakewalk? Whew!), and it can be appreciated as a 1950s period piece as well. But it's largely fictional, and as others have mentioned is clearly overdue for a new treatment, and not just a remake. Now, who should play the principals this time around?

Joan Collins is Evelyn Nesbit, the beautiful "Girl in the Red Velvet Swing" in this 1955 film also starring Ray Milland, Farley Granger, Cornelia Otis Skinner, Frances Fuller, and Glenda Farrell. The film purports to tell the story of the White-Nesbitt-Thaw triangle that ended with the murder of White, the arrest of Thaw, and the testimony of Nesbit.

The facts are there, but as others have pointed out, the personalities are not. White (Milland) in fact was a notorious womanizer, and Evelyn was but another conquest. And while it may surprise people that beautiful, sexy "Dynasty" star Joan Collins could play demure and innocent, Evelyn probably wasn't. The unbalanced Thaw (Granger) was also a drug addict, not mentioned in the movie.

This film, which initially was to star Marilyn Monroe and later Sheree North, should have been much more exciting, given a) the story and b) the money spent on it. Unfortunately, the lack of character development holds it up. The White character remains elusive; Milland never loosens up. Granger does an excellent job as Thaw. Collins is absolutely beautiful and does a good job with the character, but the character as written doesn't give the film much of an edge.

The scene on the swing between Evelyn and White is dizzying and dazzling; and the end of the film is one of the best things about it.

Evelyn Nesbit overcame the trial, rejection by Thaw's family, suicide attempts, alcoholism, and addiction to morphine, living until the age of 82 in 1967. She served as an adviser on this film.

First some truths and then a review of the film itself.

Evelyn Nesbit, from my own impressions of her recent bio, American Eve, and a clip of her singing from 1930, was a coarse, cheap, nearly talentless beauty of 1906 - all this faded by 1930, when she looked quite plain and homely. Stanford White was obese, a womanizer and a trafficker in underage virgins. Harry Thaw was a madman, pure and simple, protected by his wealth. He also was quite plain and homely. Evelyn's mother was also a trafficker, for her daughter - she makes GYPSY's Madame Rose look like Melanie Hamilton.

Hollywood could not have produced a film true to the characters in 1955. It would never have passed the censors. You didn't touch motherhood then. GYPSY on stage was four years later.

Given the basic narrative structure of the facts, and allowing for Hollywood's restrictions, THE GIRL IN THE RED VELVET SWING is for me an excellent filmization of this narrative. Beautifully photographed and given sumptuous production design as well as excellent casting, it stands as a very interesting "take" on the "crime of the century."

I applaud it and its makers. For something truer to the original characters, visit the segments in RAGTIME devoted to this story. Elizabeth McGovern's turn as the passive, dim-witted Evelyn is much truer to the real woman and deservedly brought her an Ocar nomination.

Shame on the Academy for denying it any noms- it deserved recognition in the Cinematography, Art Direction and Costume Design categories. Farley Granger gives his best performance as the deranged Thaw. Glenda Farrell as Mrs. Nesbit also deserved consideration in the supporting category.

Interesting to note that the love theme is a blatant steal from Max Steiner's Melanie and Ashley love theme in GONE WITH THE WIND, borrowing the first two stanzas of that theme.

If they ever film the bisexual Granger's fascinating life, consider Michael Ellison, the sensitive young actor of THE BEST MEN - a look alike with hidden depths.

Do see THE GIRL IN THE RED VELVET SWING and RAGTIME in succession to get an overall impression of this fascinating triangle.