Cruel Desengano

There are many reasons why I loved the film. It is not easy for a 27-year-old woman to play a 12-year-old tomboy convincingly. Ms Julie Harris showed that it could be done. She ought to have won the Oscar for her performance in this film for which she was nominated. Ms Ethel Waters, in the major role as the black housekeeper and cook was equally magnetic. Ms Waters proved that she is one of the finest and most endearing black actresses of all time. Director Zinnemann's best move was to use Harris and Waters in the roles they had perfected on stage. The next big contribution is the wonderful play by Carson McCullers (adapted from her own novel), on which the film is based and the gifted scriptwriting duo Edna and Edward Anhalt for their contribution to adapting the play for screen. The film, in many ways, is comparable to the film version of Harper Lee's "To Kill a Mockingbird."

Were I pressed to name just five films which I consider to be the greatest of all time, THE MEMBER OF THE WEDDING would have to be amongst them. It is American cinema at its most elevated and humane, and in a strange, oblique kind of way says more about the pain, (that was once so commonplace), of being black in the USA , than many other films that deal with this issue in a more direct way. The story is so universal, and through its many metaphors applies to so many of life's experiences; it is full of compassion, humane values, humour and irony; it both warms and breaks the heart.

Every single role is acted superbly by a fine ensemble of players, but the three main characters, Julie Harris, Ethel Waters and Brandon De Wilde, are quite simply perfection, and give performances that could not be bettered. The scene where the three sit together in the growing darkness of the kitchen and together sing `His Eye Is On The Sparrow' must surely rank as one of the most sublime and moving moments in world cinema. I have watched this film on countless occasions and never fail to marvel at its artistry, and too, how it reflects human values of worth and merit, and, whenever I have introduced the film to others who didn't know it, they have never failed to thank me profusely for doing so.

Fred Zinnemann once said in an interview that it was his personal favourite of all the films he made, and I agree with him, but I would qualify his statement further by stating it is amongst the finest films that anybody has ever made! All technical values are first rate, and yet again, Alex North came up with a brilliant musical score that added yet one more layer of sheer excellence.

A film every American should watch and be proud of; not in a negative nationalistic sort of way, but in a common, shared-humanity way! Non-Americans of course should also watch it, and see a positive side of American values, and, like me, be grateful to Columbia for bringing to fruition such a risky commercial proposition. It may not have broken box-office records, but it is a true treasure in the pantheon of American cinema. One of the truly great films of all time.

Harry Cohn loathed this film -what greater recommendation could there be? In fact Columbia had no idea what to do with this masterpiece -just read the publicity department's tag-line (A Girl Becomes a Woman in the Middle of a Kiss !)and see their original poster with a mature woman with a Louise Brooks hair style fending off the drunken soldier who in the movie attempts to kiss 12 year old Frankie when she runs away. Stanley Kramer makes up for every lousy movie he directed (i.e. his complete oeuvre) by PRODUCING this masterpiece. It is director Fred Zinneman's favorites of all his films -and no wonder! It doesn't put a foot wrong. It has two of the most remarkable female performances put on celluloid; Julie Harris (in her late twenties as a twelve year old trying to understand and come to terms with her feelings of alienation "(she) was a member of nothing in the World.....and she was afraid") and Ethel Waters as Berenice, only too aware of the reasons for her sense of aloneness, settling her need to love on two white children and a black youth,all three of whom she loses. There are three main characters in this Kitchen Piece. It would be wrong to ignore the contribution of a child actor of genius: Brandon de Wilde as Frankie's grave little cousin John Henry West.It is impossible to imagine a more perfect cast to bring this most difficult of novels and play to the screen. It looks as if this movie is at last available on video( in the States at least ) I already have a copy taped from the Box. For me it is the ONE essential film to own -when a DVD is available I shall be first in the queue to buy it- surely a CD of Alex North's beautiful score cannot be far behind!

This film is the litmus by which I judge the taste of all new acquaintances -if they haven't watched it with a shock of recognition and don't connect with Carson McCuller's genius and profound humanity, then I don't want to be a member of any club they might belong to!!

I will admit that viewing a 1952 film from a 2007 perspective might be clouding my opinion. Julie Harris' "Frankie" is overplayed and ruins the entire piece. I attempted to look past the fact that she is supposed to be only 12. C'mon, even in 1951/52 Julie could never pass for a 12-year-old, maybe 18. Directors often ask the audience to suspend their beliefs and imaginations - but this is too much to ask regarding Ms. Harris. Yes, the dialog is effective. It is interesting considering certain episodes within the film. For instance, 10-year-old John Henry's proclivities toward cross-dressing. Daring I must say for the time? Ms. Walter's presentation (considering she had to buffer the over-dramatic Harris) is excellent. Little Brandon also holds his own. Maybe as a stage presentation it worked - but as "one of the great films" in cinema history - forget it.

Carson McCullers was one of the best writers the South has ever produced. The clarity and sensitivity of her prose is captured beautifully in this all-but-a-play film.

Ethel Waters, Brandon deWilde and Julie Harris repeat their triumphal Broadway performances.

As a Southern native, it is my informed opinion that Ms McCullers captures the complex and often misunderstood relationships of poor white folks and their even poorer black neighbors in the small town South before the advent of the American civil rights movement. United in poverty, religion and ignorance; they are divided by the institutions of racism and class.

The loneliness of childhood, the love that Bernice has for her young white charges together are explore in the backdrop of the rural South that Faulkner described as half myth and half mysticism.

Ethel Waters reveals her impressive dramatic skills near the end of a long career , Julie Harris displays a mastery of her craft at the beginning of her distinguished career, and Brandon deWilde steals every scene in which he appears.

Highly recommended.