Uma Tragédia Americana

Like all the studios Paramount did not believe in idle hands. In between Marlene Dietrich projects, Josef Von Sternberg got assigned to do this adaption of Theodore Dreiser's novel An American Tragedy. Of course Paramount's second adaption of this story A Place In The Sun is far better known.

Paramount was never known as a studio which did films with a message of social significance. Interesting to speculate what the results would have been had this been done at Warner Brothers. Von Sternberg did do a good piece of film making. But the story died at the box office. I suppose the story of a man trying to marry upward to secure a better place in society and the tragedy resulting just wasn't of interest to Depression audiences.

Whether it was or it wasn't Paramount sold the next one with sex, the love story of Montgomery Clift and Elizabeth Taylor heating up the screen. That went over big in 1951.

In this story Phillips Holmes is the ne'er do well relative of factory owner Samuel Griffiths who gives him a job in his factory, but keeps him at a distance socially. More than anything else Holmes wants acceptance from the upper crust.

At the factory he drifts into an affair with fellow worker Sylvia Sidney, but when he sees rich Frances Dee she's the ticket to all he's ever wanted. But Sylvia's now pregnant, what's a guy to do?

Dreiser's thoughts about class and class distinction are carefully preserved here. Yet in the most class conscious era in American history this didn't go over with the public. I guess even in those times you need a little sex to get people to the box office.

All the leads performed well and I also would commend Irving Pichel as the prosecuting attorney. This part was also a milestone for Raymond Burr who did it in A Place In The Sun.

An American Tragedy holds up well for today's audience which is also thinking about class distinctions and upward mobility today.

This film, based on the great Theodore Dreiser novel, is not really available in many video stores or libraries most likely due to its age and lack of popularity. However, the film does parallel the book somewhat in that the characters all have the same names, but it is difficult to comprise an over 800 page book into a film. "An American Tragedy" was also later adapted into "A Place in the Sun," which has become more recognized because it stars Elizabeth Taylor. However, though this film takes its basis from Dreiser's novel, its character names have all been altered. If you really want to learn about this great story (which is actually based on a 1906 murder case), then read Dreiser's book because his writing and plot are amazing and no film is capable of adapting it.

Originally this adapation of the Dreiser novel was planned by Sergei Eisenstein, during the Hollywood jaunt that also led to Que Viva Mexico, and his version might have been a cracked masterpiece-- one can imagine him getting all kind of details about the American scene ludicrously wrong, but finding a real connection between Dreiser's depiction of a weak youth whose desire for wealth and comfort sends him on an assembly line to murder, and Eisenstein's own mechanistic editing style and view of capitalism's destructiveness.

Von Sternberg, on the other hand, was the master of knowing sexual politics and intrigue, at his best with characters whose illusions had been left behind many beds ago. Given a Classics Illustrated-level cutdown of the book, and a stiff (if straight out of an Arrow shirt ad) leading man in Phillips Holmes, there's little for him to get hold of here, except for a few scenes in which Sylvia Sidney manages to convey the poignance of a poor girl in a bad spot, losing her boy and helpless to prevent it. There are some reasonably effective scenes between Holmes and Sidney, some nice chiaroscuro from Lee Garmes (though alas, even UCLA's restoration does not look as good as the clips I saw at Cinesation in the 1932 Paramount promo film The House That Shadows Built), and the courtroom scenes, though way over the top (not helped by Irving Pichel's too-perfect E- Nun-Cee-I-A-Shun), are dramatic-- it's fun seeing him defended by Charles "Ming the Merciless" Middleton, in that inimitable voice. But you can't really say it works, or does Dreiser justice-- and I'm not sure any movie could.

The problem with Dreiser's passive characters is that on screen their plights may be involving, but they aren't; we don't get the interior life that the novel gives us, we just see the story of an ineffectual sap making a couple of bad mistakes and getting ground to dust by the wheels of modern society. James Cain's crime novels took the Dreiser- style story and put guilt and cunning back into the main characters' makeup, so they have things to do on screen-- and they know WHY they're doomed. Seeing Sternberg fail to find anything interesting enough to work with here makes you wish Eisenstein had made this film, and Sternberg had had the chance to sink his teeth into The Postman Always Rings Twice or Serenade.

This seems much closer to the facts of Theodore Dreiser's great novel than the soapy 50s version, good in its own way, with Montgomery Clift.

Even with florid Josef von Sternberg directing, the film follows the basic plot of the novel although there seem to be a few holes. Still, the courtroom scene is electric and makes this all worth it. I also like the casting of Phillips Holmes as Clyde. Holmes is able to capture the bizarre passions and inability to really care that embody Clyde. His subtle performance in the courtroom scenes, as he slowly breaks down and loses any sense of truth under the barrage of lawyers, is quite excellent. His voice goes higher and thinner as he becomes just a frightened boy answering the stupid questions posed by the sadistic and ambitious lawyers.

Sylvia Sidney is quite good as the tragic Roberta, and Frances Dee captures the haughty attitudes of the wealthy of that era. Charles Middleton and Irving Pichel play the lawyers. And Lucille LaVerne plays Clyde's mother.

This was a big hit in its day and helped establish Holmes and Sidney as stars. Holmes had a relatively short starring career and died in WW II but he made several memorable films with Nancy Carroll.

To think that it's the same actress who stole the show in the first version of the Dreiser novel,who shone in Lang,Hitchcock or Wyler works, and...landed in Tim Burton's "Mars attacks" where she played the "deus ex machina grandma who single-handedly saved our dear old planet! It's very interesting to compare her performance with that of the great Shelley Winters in Stevens's remake:they give diametrically opposite renditions:Winters' portrayal is that of a vulgar ,crude ,exasperating and even authoritarian woman,almost a shrew;Sidney's girl is exquisite with small eyes longing for happiness and love,a very delicate style of play.

If you've seen the remake before,you will notice big differences:the first one is the part of the wealthy girl:whereas Elizabeth Taylor 's part was very important in "a place in the sun",here Frances Dee does her very short stint,hardly 10 minutes,then they talk about her as "Miss X ", the invisible woman,which prevents us from comparing her with her more famous successor.Philip Holmes was surpassed by Montgomery Clift who gave more intensity,more ambiguity and finally more credibility to a character who is primarily a coward :there's room at the top ,but he's bound to fall because perhaps of his education.From that point of view,"an American tragedy" is more detailed than "a place in the sun" :the hero's mother plays a prominent part and it's finally in his last scenes with her that Philip Holmes transcends a rather monotonous portrayal.The first accident which he was not responsible for is not included in Stevens' version.

If Sidney is the main asset of the movie,its main flaw is the very long trial ,one third of the running time is given over to it,and the defendant's attorney's and the prosecuting attorney's histrionics are sometimes ponderous and seem to come straight from the silent movies .(Sternberg was an important director before and after 1929,the year of the talkies).It's interesting to notice that between 1930 and 1935,it's his only film which does not feature Marlene Dietrich.

All in all, Stevens'"a place in the sun" is a better constructed movie,a better remake,which has become exceptional nowadays,but at least for Sidney, watch this one.

Nb:both movies pass over in silence book one and don't feature the hotel,Hortense ,the pregnant sister ,and the terrible car accident which costs a little girl her life.