La storia di Ester Costello

Certainly this is one of Joan Crawford's best movies. She beautiful in the dated "Grand Hotel." She really acts in "The Women." She's fine in the high melodrama of "Possessed." She's very good in "Mildred Pierce." And "Sudden Fear" is a fine noir.

Apart from Ms. Crawford, for the moment, we have the plot: A child in Ireland is in a terrible accident, in which her mother dies. She becomes blind and deaf and loses the ability to speak as a result of the trauma. This, by the way, is the title character, not Ms. Crawford. That was also rare in her career and maybe a first here.

As someone very knowledgeable about the blind, I give this a very high rating. This is only a personal feeling but I prefer it to the famous "Miracle Worker," which to me is overwrought and, though based on a true life, not very accurate.

"The Story of Esther Costello" is accurate. The scenes at the school on Long Island to which Crawford takes Esther, well played by Heather Sears, are believable. The Braille is well researched, as are other aspects of her learning.

As Esther grows up, she becomes a very pretty young m=woman. Without giving away the plot, she is abused and raped. This is sadly still true of the lives of blind woman and women with other disabilities. They are taken advantage of by parents and other relatives, by schoolmates, and very often by spouses. The same is true, to a lesser degree, of disabled men.

Make no mistake: This is no arid treatise. It has its campy moments, as well as its legitimately exciting ones. Among the former are Crawford's swank no matter where she is and the irony of her becoming a sort of foster mother here in light of later revelations by her own daughter.

This is a painful movie but a very fine one.

This film is perfectly cast, with Joan Crawford at the helm, playing out her trademark histrionics. She was accustomed to this typecasting, and accordingly played it to the hilt in The Story of Esther Costello. This melodramatic on screen persona is a far cry from her early work, in such films as Rain (1932) where she plays a prostitute.

Crawford's melodramatic persona was a safe bet for her since Mildred Pierce (1945) for which she won the Academy Award. This was the making of Crawfod as well as the breaking. She seemed to be stuck in the character of Mildred Pierce from then on in.

As for her co-star Rossano Randi, it was a brave move for him to take on the part of the slime ball rapist, embezzler, and exploiter. It was a risk for his career as an actor, and it could have the affect of stereotyping people from Latin extraction.

The part of the title role; as in Esther Costello, was played exceeding well by Heather Sears. All of her acting was conveyed through emotion and gestures alone. This was especially played well in her vulnerable scenes, such as that of the rape victim.

The fact that Esther overcomes many of her obstacles, the narrative of the story turns victimhood into survival. A powerful theme with a message of hope. However the end of the film, where Esther recovers from her disabilities, is too much.

If the viewer can overcome the melodrama of this film, it has some powerful messages in it. For that reason it's worth a look at.

Shot in the United Kingdom and the continent, The Story Of Esther Costello seems to be a hybrid production of The Miracle Worker and Johnny Belinda. Heather Sears's performance in the title role might have been worthy of Oscar consideration had not Jane Wyman already won an award playing a deaf mute.

Joan Crawford plays a wealthy American who is separated from her husband Rossano Brazzi and touring Ireland, specifically the village of her birth. While there the village priest Denis O'Dea introduces Joan to Sears who is deaf, blind, and mute. In a prologue we see why she is that way, as a child she found a cache of gunpowder and grenades left over from the Rebellion which explodes killing her mother and leaving her as she is.

Eventually Joan takes Heather from the squalid conditions she's living in courtesy of her aunt Maureen Delaney and gives her the Helen Keller treatment. When Sears becomes a celebrity of sorts, Brazzi reenters the picture see the cash cow Sears has become what with the charities organized in her name.

A rather unbelievable 'cure' for Sears mars what could have been a much better drama. The players all perform well, particularly Crawford who is in her best Mildred Pierce mode as an adoptive mother to a much more appreciative child than Ann Blyth.

Definitely one for Joan Crawford fans.

This not always believable story is really riveting after a slow start, and a cheesy development but the second part is really worth...Some elements in this plot could remind MIRACKE WORKER, which has a total different plot. I did not remember of this feature directed by David Miller, and I don't think it is that widely known either; such a shame. I also thought it was inspired by true events, and not a novel. But who cares? Because I loved MIRACLE WORKER - again - I am glad to have discovered this film for the second time; how could I forget it? Joan Crawford has here a role that suits her so much.

The story is by renowned novelist Nicholas Monsarrat, also known for "The Cruel Sea" and "The Capillan of Malta", two other realistic and documentary novels, but this is not about the war. It's about a deaf and mute poor orphan in Ireland, who is taken care of by Joan Crawford, who makes an unusually impressive performance, without falling into pits of sentimentality and bathos. Heather Sears as the young girl is the chief star of the film, though, unknown and making the performance of her life for a start. The real crushing thing is the story, though. It is devastating in its merciless exposure of commercial exploitation of humanitarianism. The real drama begins as Rossano Brazzi enters the stage. He is a former husband of Joan Crawford, whom she tried to separate from, but when he reappears she is too weak for him, with very unforeseen consequences. The film is beautifully made with brilliant music, and the realism of the story couldn't have been carried through more consistently. I was often irritated with Joan Crawford for her overbearing manners, but here she is quite perfect and admirable all the way.