Letto matrimoniale

In this filmed version of Jan De Hartog's play, Rex Harrison and wife Lilli Palmer go through life in half a dozen scenes in their bed room. It starts with them newly married, and goes through their hardships, from inveigling a virgin bride into consummation, through death.

Harrison and Miss Palmer were husband and wife when they made this, and it neatly compresses the joy and heartache that a couple goes through. It was later the basis of the Broadway show, I DO, I DO, and Miss Palmer is radiant... and producer Stanley Kramer was taking an awful risk, since Harrison had left Hollywood in disgrace a few years earlier. Always-ambitious director Irving Reis pulls fine performances from his to performers, while the play is opened up by careful camera movement by DP Hal Mohr, and UPA cartoons about the world surrounding the two acting as scene changes. For some reason, they look like they were based on Ronald Searle's cartoons.

The Four Poster(1952)is a warm,witty,and wise play chronicling a marriage, from "I do" to "til death do us part", from the candlelit late-Victorian years through the late nineteen-thirties. The Stanley Kramer-produced movie version of the Jan de Hartog stage success utilizes the gifted, Academy-award winning cinematographer Hal Mohr (A Midsummer Night's Dream, WarnerBros. 1935) to create a frequently non-static fluidity to the mies-en-scene (the overall "look") of the necessarily stage-bound piece (the closeups are luminous). The scintillating score by the virtuoso Dimitri Tiomkin perfectly captures the changes of the characters' moods and attitudes as each of them grow and evolve - both as individuals and as a couple - through each succeeding decade of their life together. The music also helps work against staginess, literally sweeping up and propelling forward the film's pace, briskly and jubilantly. In fact, Tiomkin's screen credit "Music Composed and Directed by Dimitri Tiomkin" is entirely appropriate, for he is as much to be credited with producing a movie that moves as are producer Kramer and director Irving Reis (best-remembered film The Bachelor and the Bobby Soxer starring Cary Grant). An additional innovation was the use of the famed U.P.A. cartoon studio's (Gerald McBoing-Boing their signature character) animation sequences between acts to delineate the couple's lives outside the confines of their bedroom as time moves on. The results are delightful and often poignant. Lastly, and best of all, are the shining brilliance of the performances of (at the time) real-life married couple Rex Harrison and Lilli Palmer. They had been brought to Hollywood together after their British film success The Rake's Progress (U.S.A. title The Notorious Gentleman), with Mr. Harrison signed by Twentieth Century-Fox and Miss Palmer by Warner Bros. After each had enjoyed a rising success at their respective studios - Harrison especially in movies such as Anna and the King of Siam and The Ghost and Mrs. Muir - everything came to a screeching halt in 1948 after the suicide note written by actress Carole Landis implicating Harrison in an affair. Miss Palmer's decision to stand by her husband had them both deemed persona non grata and returned to England for work in the theatre and one oddly-autobiographical movie about marital infidelity, The Long Dark Hall in 1951. Stanley Kramer's desire to cast them in The Four Poster brought them back to Hollywood the following year, at last for a vehicle tailor-made and perfectly suited to each actor's respective gifts. Harrison is at his peak here: dashing and debonair, temperamental, sometimes foolish and childish, others compassionate and knowing. Palmer had never before and would never again be given a role in a Hollywood film that so completely utilized her versatility and enormous strengths. As the wife she is girlish and sophisticated, vibrant and ebullient, supportive yet never docile, fiery and earthy and warm and ever-hopeful for life's blessings. Miss Palmer's radiant beauty is seen to best advantage here in a performance that is quite simply sublime, and for which she was awarded the Best Actress prize at the Venice Film Festival for the year 1953 (Academy Award consideration should also have been hers but shamefully was not). One can sense in these two superb performances a lot of catharsis: the trials of their exile and the tensions of their personal relationship being diverted and channeled into those of their characters' situations. The Four Poster was acclaimed critically but sadly was a box-office failure, perhaps its sophisticated, innovative presentation a little ahead of its time. Yet happily for viewers today the movie is at the very least a filmed record of two glowing performances by two great stars, whose middling success overall as an acting couple would be eclipsed by later individual stage and screen successes. And this film can be seen as a reminder of what dynamic star charisma and sheer acting presence used to be.

This movie has been impossible to find and I would so much like to see it again. It left an indelible impression about marriage and love. And it took some time to realize that this movie after all is a Movie! Now I would like to view it as an adult. One can be influenced by this media if experienced at the right time of life.

I saw this movie as a very young man. I saw it only once. And I've never forgotten it. It represents, to me, a template of life that speaks of all the joy and all the sorrow of life and of all the reasons that it is worth living.

If this movie were to be made available, it is one that I would gladly add to my private library and feel priviledged to be able to share it again.

The Four Poster (TFP) is a little known and hard to find film produced by Stanley Kramer early in his career, which was made before he became a more successful movie producer-director. It is based on a play by Jan de Hartog, that was released in the same year that Kramer gave us his celebrated Western masterpiece High Noon. TFP actually exists in three versions: the play as originally presented in London; the film which is based on the London production; and the substantially revised play which later appeared on Broadway while this film was being made.

TFP is a two character story that in eight linked episodes traces the marriage of Abby and John from their wedding night to old age and death. Each episode takes place just in a bedroom, and follows the couple as they adjust to the many problems of married life, having and raising two children, trying to achieve personal and financial success, dealing with infidelity and reconciliation, passing through the many joys and tragedies that are encountered on the road to maturity and decline, and learning to accept the meaning of love and death when in the twilight of life. The London and film versions presented all of this as a rather serious story, while the Broadway version (that starred the married couple Hume Cronyn and Jessica Tandy) was changed to emphasize a more comical tone in the proceedings------and thus avoided the sentimental and mystical references that characterized the other two versions. In addition, the film starred a different real life married couple (Rex Harrison and Lilli Palmer). They appeared to be a more glamorous pair than the seemingly commonplace duo of Cronyn and Tandy-----whose projected ordinary lives many thought were quite similar to those of the folks who came to see the Broadway version. However, it must also be mentioned that Tandy originated the role of Blanche Du Boise on Broadway in A Streetcar Named Desire------and that could hardly be considered as something commonplace.

TFP is one of those plays that probably could never have been made into a financially successful motion picture. The action (such as there is) was quite limited, the physical setting was almost claustrophobic and the marital scenes were so typical and repetitious that they had difficulty sustaining the relatively short film to its inevitable conclusion. What might have worked on the stage with its obviously artificial surroundings became somewhat anachronistic in the more realistic cinematic medium.

What ultimately saved TFP (the film) was its clever use of animation as bridges between the eight episodes. These cartoon segments were able to incorporate changes in time and place that could not be presented in the film because of its structure.

In the end, TFP as a work of art is probably best enjoyed in a theatrical setting with all of its artifices intact. There the ups and downs of married life with Abby and John would likely be most appreciated by an interested audience.