Ambra

"You've done very well for yourself, Amber."

With this line, Cornell Wilde's character shows himself a master of understatement. It is delivered coldly, with neither criticism nor respect.

FOREVER AMBER is the portrait of a peasant girl who refused to be destroyed by her poverty and the hopeless prospects awaiting her. She used her sexuality and her brains to become the King's consort.

This film presents a vivid portrait of life in England before the Cromwellian revolution. It was an amoral, extremely cynical, heartlessly cruel society.

Linda Darnell's performance is a tour de force. She manages to play the strumpet, while letting the audience see her strength of character shining through all the while. Her love for the fickle Bruce Carlton/Cornell Wilde is too deep for him to ever understand.

One of the most haunting episodes in classic films is the depiction of London in the grip of the Black Plague. Amber risks her life by staying at Bruce's side through his delirium and personally performing the surgery that saves him.

Amber's tragedy is one that every woman who has ever had to fight for herself in this world can recognize. The movie is far more than a period soap opera. In fact, with David Raksin's incredible orchestral score, the production could have provided the framework for the composition of a real opera.... La Boheme, move over!

Back in the days when the Roman Catholic censorship body, the Legion of Decency, had an unwarranted share of influence over the major Hollywood studios and their product, Darryl F. Zanuck, head of production at 20th-Century Fox, found himself embroiled in plenty of hot water with the L. of D. militia over his plans to film Kathleen Winsor's wildly popular succes du scandale "Forever Amber." We can be grateful he braved the fulminations of the clerics and their cohorts and lavished class "A" production values on this entertaining spectacle. Of course the more salacious aspects of Miss Winsor's story are toned down and softened, but there's a rather bitterly astringent tone to the proceedings, nevertheless.

The cast performs ably under the legendarily tyrranical Otto Preminger, whose direction of some sequences does seem a bit perfunctory. Linda Darnell is gorgeously gowned and lovingly photographed in three-strip Technicolor by Leon Shamroy, at his professional best. (I will agree that some scenes, especially at the beginning, seem a bit underlit, possibly due to an inferior VHS video transfer...I have never seen this on a big screen.) Miss Darnell holds her own against the likes of George Sanders, giving one of his wittiest performances as King Charles II, and her line readings, spoken in that delicious speaking voice of hers, ring true for the most part. The always reliable Richard Haydn, as the loathsome Earl of Radcliffe, convinces us that his grisly fate is well-deserved. And even the usually laconic Cornel Wilde convinces as a suitable object of Amber's steadfastly unrequited passion.

Best of all David Raksin's score achieves near-operatic grandeur, lending a sensual sweep that underscores one of Twentieth's really memorable costumers. Alfred Newman, head of Twentieth's music department, masterfully conducted Raksin's music, back in the days when the major studios employed full-time orchestras of musicians whose talents rivalled the players of the best symphony orchestras of the day and, perhaps, even now. Of course the video's audio track doesn't do the musical score the justice it deserves and it may be that in the late Forties when this was made, only the Warner Brothers studio sound technicians achieved full sonority on the optical tracks on which were recorded the scores of Korngold and Steiner and the other masters who worked at that rival studio.

It's 1644 and Civil War grips England. Baby Amber is found at the doorstep of a puritan family in the countryside. She is the product of a scandal from opposing sides of the war. It's 1660. Oliver Cromwell is dead and the monarchy is restored. Amber (Linda Darnell) refuses an arranged marriage and longs for a high class life. She uses her sex to social climb her way to the top. She follows a group of Royalist led by Lord Bruce Carlton (Cornel Wilde) and his friend Lord Almsbury to London. Her journey would take her to the court of King Charles II. Bruce gets her privateering ship. She gets pregnant and sent to debtors' prison where she joins highwayman Black Jack Mallard. They escape prison and go on their crime spree. Jack is killed and she is rescued by Captain Rex Morgan who introduced her to acting in the theater. That's where she reconnects with Lord Almsbury who is now married with a child. She continues to social climb as she pines for her true love Bruce.

This is based on a period-piece romance novel. The name that caught my eye is director Otto Preminger. It's three years after his stylistic masterpiece Laura. It's the days of the powerful studio head and Zanuck had him under contract. He is given this prestige affair with a big budget. The material is rather scandalous at the time which Zanuck used with the expected censor opposition. It's nothing nowadays and this costume affair seems rather stiff. I don't know much about Linda Darnell. She seems to have a long and varied career with this as one of her highlights. She's beautiful and she's doing some broad acting. This is reminiscent of the style of Gone with The Wind except it is far inferior. It's rather pulpy where the sexual opportunism wears out its salacious welcome. It's compelling enough to watch but I don't find the ambitious Amber to be that appealing.

I tried reading Kathleen Windsor's famous novel but found it too long and full of excess baggage. It didn't capture my attention the way that other famous historical novel, "Gone with the Wind" did.

And while I can't say I liked this film as much as GWTW, it was nevertheless very entertaining and held my interest the way the book couldn't. There was enough history, drama, romance and intrigue to make it worthwhile, without going overboard and getting bogged down with unnecessary detail and incidents.

What was most interesting about Amber (Linda Darnell at her best) was how you can understand her motives without having to agree with them, like her unwillingness to give up on Bruce, who had more than one opportunity to make an "honest woman" of her but didn't want to take them. At times, she does what she has to do, at others, she chooses her options. Her ambitions and schemes never get her what she truly wants, despite her rise in social position and material wealth.

Cornell Wilde gives a good performance as Bruce Carlton, the love of Amber's life, who prefers his freedom, at least where she's concerned.

I also liked George Sanders as King Charles II, who falls for Amber's charms, yet won't be anyone's fool.

Very entertaining!

Somewhat saucy romp has a ravishingly beautiful and amber haired Linda Darnell in the lead full of piquant carnality, lavish costumes and settings and a scene stealing George Sanders as Charles II. What it doesn't have is a lively pace and that to some extent is its undoing. Preminger was the wrong director for a piece of entertainment like this that required a florid touch, Michael Curtiz would have been much more at home at the helm.

The novel this is based on was a notorious but tremendously successful sensation of its day. That book while certainly not "A Great American Novel" is a highly enjoyable piece of pulp fiction full of sex, murder and double crosses in fancy clothes with a complex, very entertaining heroine at its center who has a good heart but is not overly burdened with morals. Unfortunately since they tried to film it in the forties when the Production Code was in full force the more salacious plot points had to be excised. What made it to the screen has its moments but shows the heavy hand of censors most evident in the abrupt ending but scattered throughout the movie. Still a fun romp with Linda giving a spirited performance and for those who haven't read the book a somewhat racy tone.

A troubled production from the beginning what with censorship problems, a recast leading lady, Linda Darnell stepped in after production had started when Peggy Cummings didn't work out and Lana Turner couldn't be borrowed from MGM and a martinet in the director's chair.

There are still a few amusing stories connected to the backstage upheaval that went on. Linda Darnell had worked with Preminger before on Fallen Angel and it had been rough going but she truly came to loathe him during production of Amber. Later while filming A Letter to Three Wives Joseph Mankiewicz needed her to throw a look of disgust at a picture unseen by the audience, to achieve that look he slipped a picture of Preminger into the frame without her knowledge, he got his look.

A small sampling of Preminger's directorial style: after acting out a scene for Linda and Cornel Wilde he screamed at them as they tried to do as he had instructed "Don't do it like I did it! Do it like I meant it!"

One peripheral story: when Ava Gardner was briefly married to Artie Shaw he flew into a rage and berated her when he caught her reading Forever Amber saying it was trash and she should be focusing her attention on things that would enrich her mind, he was that kind of husband. They divorced shortly after and within the year he had married Kathleen Winsor...the author of Forever Amber!