User reviews

Winterset starts out beautifully and profoundly. The story flows well, but the latter scenes are so implausibly constrained that I ended up losing sympathy for the characters. The dialog was hard to make sense of at times, and many of the movie's sequences look like dark scenes from a bad dream... you know, the kind of situation you just can't escape from.

It looks as though, in the transition to turning the stage play into a movie, the makers never gave much thought to overcoming the obvious limitations that the stage imposes on what we now think of as the "action sequences".

I don't regret the time spent watching Winterset. It was interesting, but as a movie (and even allowing for its vintage) it was just "OK".

Despite having read the liner notes, I thought from the publicity artwork that WINTERSET would be something Gothic. It is Gothic, in its bleakness, but is squarely centered in the Depression era of the United States. It was completely of it's time, and considering that the film was adapted from the Broadway play, it must have been daring, with sub themes of socialism and police corruption. (The play was by Maxwell Anderson, who wrote KEY LARGO and THE BAD SEED.) Perhaps that contributed to the film receiving two Academy Award nominations.

This is the story of Mio (Bartholomio – a young, dewy Burgess Merideth) trying to clear his father's name. In the first scenes, his namesake Father, played with riveting stillness by the painfully thin John Carradine, was accused of murder he did not commit, given no defense, and put to death. Years later, his son goes to the slums of New York to try to find out the truth.

I had to remind myself that this was made in 1936, so it is still very early in the talkies. The sets are a wonderful blend of realism and expressionism (similar to the famous stage sets of Arthur Miller's A VIEW FROM THE BRIDGE), giving this a Gothic noir flavor. Rain is often used as a "purifier" in stage and film, but here it is effectively used to create an oppressive humidity, a torrent of sludge. It is clear that film noir, Orson Wells, and THE THIRD MAN's Director Carol Reed all owe a debt to early films like this. The set elements are all here in tight proximity, the stone, the shadowed doorways, the waterways.

In fact, one irony is that one of the lead actors does look very much like Orson Wells. He plays the brother of Mariama (played by Margot, who is probably best known as the duplicitous woman in Capra's LOST HORIZON). Margot's transition to film is not as ideal as Merideth's, her style is more of the old school careful vocal production that may be the product of overcoming an accent. But she looks luminous and innocent, and fills the screen with a simple hopefulness at odds with the dark surroundings. The villain of the piece is simply fantastic… completely believably sociopathic without any extravagant ticks or frothing at the mouth.

This is pre-method-acting, but that spare realism is all here, especially in the performances of Carradine and Merideth. This entire film holds up as a moment of history – of social themes and thought of that day that still resonate. The Broadway cast seems to have been lifted intact (which should be a lesson to modern filmmakers to use stage actors instead of vice-verse). There are one or two flowery monologues, but for the most part, the transition from stage to film goes very well, and the story and script are spare and universal enough to stand the test of time well. This is a fascinating moment of film history which has –luckily – made its way to DVD.

I like this film. It is an interesting retelling of a point of view regarding one of America's most controversial trials - the 1921 - 1927 legal ordeal of Nicolo Sacco and Bartholomeo Vanzetti for the murder of two men in a payroll robbery in Massachusetts. Both were Italian anarchist immigrants in the U.S. Both were convicted by juries which were local Yankee in make-up, not having any non-Yankees on them. Certainly no Italian Americans. The judge, Webster Thayer, was an openly bigoted man. But thousands of people around the country and the world attacked the verdict, and demanded a retrial. Among those who attacked the trial was George Bernard Shaw, Edna St. Vincent Millay, Sinclair Lewis, Fiorello La Guardia, and (in a move that opened his later great judicial career) Felix Frankfurter. After going through appeals, and the revelations of a fellow prisoner that the payroll robbery was committed by a local criminal gang, the matter was left to a small commission headed by President Lowell of Harvard College. It turned out to be a whitewash. In the end, the two men were electrocuted. Thayer's and Lowell's reputations never recovered from this.

Scholars on the case are still divided on the guilt or innocence of the two defendants - some have suggested they were both railroaded, or that Sacco was more likely to be guilty, but Vanzetti was probably innocent. Today, nearly eighty years after their deaths they still remain a flash point regarding American bigotry. In 1977, on the 50th Anniversary of their deaths, Governor Michael Dukakis formally pardoned both men.

Maxwell Anderson wrote about the subject twice: the play WINTERSET and the play HIGH TOR. Anderson's reputation as a dramatist has been inflated over the years by critics like Brooks Atkinson. He could occasionally write a well done play, but he was not on the level of his contemporary Eugene O'Neill. O'Neill's tragedies (especially his final ones) was based on personal demons from his family and his life. O'Neill was also willing to experiment on stage with masks (THE GREAT GOD BROWN) or with internal counter-dialogs (STRANGE INTERLUDE) or even with trilogies based on Greek originals (MOURNING BECOMES ELECTRA). Anderson only experimented one way - he tried blank verse plays (ELIZABETH THE QUEEN, MARY OF Scotland), and did not do it too well. But here he obviously was passionately determined to defend the memory of the two Italian - American anarchists. His plot is based on developing the thread of the confession (mentioned above) that the murders were planned by a local criminal gang. The gang's leader is Eduardo Cianelli, a brutal criminal who framed the two men by stealing their car as the getaway car.

But the strength of the confession is furthered by claiming the judge was bribed (Thayer was biased but not bribed). Edward Ellis (best recalled as the missing inventor in THE THIN MAN) is the corrupt jurist, who is now a wandering derelict. Vanzetti's famous final letter from the death cell (an elegant final comment that is the basis of contention between Henry Fonda and Eugene Palette in THE MALE ANIMAL) is the basis for the elegant denunciation of the judge in the court by John Carridine (note that his character's first name is also Bartholomeo). Ironically, today, it is believed that elegant final message of Vanzetti may have been written in part by a reporter who supported the defendants.

The son and daughter of the dead men (Burgess Meredith and Margo) are seeking to prove their innocence. But they run against the determination of Cianelli, and his goons. The film is fascinating enough, and concludes satisfactorily (much more than the actual case did). The plot's conclusion also leads to a more prosaic point - if you plan to use a signal to destroy someone, don't forget that signal and use it yourself. See the film to understand that last point.

The drama itself is interesting to watch in this adaptation of Maxwell Anderson's play, and the themes that it brings out include some particularly weighty ones. The solid cast included at least three performers who were continuing their Broadway roles, and while the production does have a stagy feel at times, it often seems rather appropriate to the material.

The brief prologue shows a political extremist (who is presumably also an immigrant) wrongly accused and executed for a murder committed by a holdup gang. The circumstances are similar to those in some notorious real cases of a slightly earlier era, in which politically unpopular persons were railroaded into convictions because of the public's fear of their beliefs.

The main action starts with Burgess Meredith portraying the executed man's son, now an adult, and determined to get to the bottom of the case despite the obstacles that have come with time. In the course of things, he encounters the judge who had presided over his father's trial, a witness with important information, and a brutal crime boss who is determined to prevent the case from being re-opened. The setup produces some good psychological and ethical tensions, in addition to the drama on the surface.

Most of the supporting cast performs well. John Carradine has a brief role as the father, Margo has a good and important role as a young woman torn between family loyalty and her attraction to Meredith's character, and Eduardo Ciannelli believably portrays the soulless, desperate crime boss. Mischa Auer succeeds in a brief, atypical role as a street agitator. But Edward Ellis gives the best performance, as the judge whose conscience has been tormented ever since the fateful case. The characters and the tragic situation that links them are all effectively portrayed.

Sixteen years ago, Italian socialist John Carradine was found guilty of murder on circumstantial evidence, which his wife and son were convinced was trumped up. Now the son, grown into Burgess Meredith, wanders the countryside, looking for the people who murdered his father: gangster Eduardo Cianelli, who killed the man his father was executed for killing; Edward Ellis, the judge who found him guilty in a rigged trial; and Paul Guilfoyle, who had witnessed the murder, and had refused to testify. Now fate has brought them together in the slum dwelling where Guilfoyle's father, Maurice Moscovitch, and his sister, Margo, live.

The copy of the movie I looked at was in poor condition, rather fizzy, and often obscured by the pelting rain that permeates most of the outdoor scenes. The line readings are stagy; many of the cast members had appeared in the stage play by Maxwell Anderson, and director Alfred Santell has made no effort to curb their performances. Instead, he has chosen to make it a film by dramatic camera angles and idiosyncratic, even quixotic editing choices. It's clearly a prestige production for RKO, although it garnered just two Oscar nominations: for Perry Ferguson's set designs, and Nathaniel Shilkret's score. It's very compelling, but its evident artiness doesn't work in its favor, with its poetical and rage-filled dialogue so evidently fake that it almost campaigned against the naturalness that mid-1930s movies all but demanded. Still, a cleaner, clearer copy might have changed my opinion.

The chance to see Broadway players recreate their performances on film back in the day should never be missed. Burgess Meredith, Margo, and Eduardo Ciannelli recreate their stage roles from Winterset in this 1936 film. But the story itself is horribly dated, mostly with a lot of left wing rhetoric which gets in the way of the plot.

Probably back in 1936 no one cared as the cause of Sacco&Vanzetti was still fresh in everyone's mind. Today it is still debated by historians and legal scholars and the two working class Italian-Americans are still venerated in Italian-American households of a more liberal persuasion in their politics. But the average American today knows the case vaguely if at all today.

The men went to the electric chair in Massachusetts protesting their innocence as does John Carradine in this film. Before Carradine dies he imparts a sense of mission to his son who grows up to be Burgess Meredith to find the real guilty parties.

A review of the case by a law school class saying that the state electrocuted the wrong man brings new attention to the case, not something that Eduardo Ciannelli likes. He was the real trigger man in the case and now he's a big shot gangster.

Rather improbable events bring Meredith, Ciannelli, the judge Edward Ellis now a drunken derelict, Paul Guilfoyle another accomplice, Guilfoyle's father Maurice Moscovitch and his sister Margo all together on a rainy and stormy night.

Maxwell Anderson wrote the original play and I have to contrast it with another of his plays that made it to the screen, Key Largo. It was another film where various folks are trapped in a storm and interesting things happen. Winterset never really sheds its stage origins and can't shake the rhetoric. Contrast that to Key Largo which never loses your interest for a second and while most of the action takes place in a closed down out of season hotel where the cast is holed up you never get any sense of staginess in it. The rhetoric is there, but it never gets in the way of the story as in Winterset.

Even with Oscar nominations for Art Direction and Musical scoring Winterset is a relic of bygone days.

Uggh! This was an absolutely terrible film and I can easily understand why it was allowed to sink into the public domain. The problem is not so much the leftist slant of the film, but that ALL of the dialog comes off as incredibly stagy and fake. Not one minute did I feel that the characters were real or that this was supposed to be real life--and it felt like an overly 'deep' play that was brought to the screen without any concern for how watchable the final product would be.

"Winterset" is a story that is a thinly veiled retelling of the Sacco-Vanzetti trial of the early 20th century. While there was an apparent rush to judgment to convict and execute the two anarchists of murder, there is evidence today that would suggest that at least Sacco was guilty. Decades after the executions of the pair, Hollywood leftists took the case under their wings--and even today it's a famous case for its miscarriage of justice. This film is an after the fact retelling of the case. While the case is interesting in many ways, however, the film is absolutely dreadful because it is so earnest and self-important. In other words, the story seems so superior and unreal in the way it was told--and the characters all come off as one-dimensional and fake. While leftists (like the leading man, Burgess Meredith) must have been filled with a sense of self-importance while making the film, they never seemed to bother to look at the story to see if it seemed real in any way. Had they done this, they would have clearly re-written the film and made the characters more realistic and the dialog at least halfway convincing. Instead, it just seemed like a very long and drawn out preachy polemic--the sort of film the public would ignore and the film makers adore. The bottom line is that this divisive and confusing case deserves a better treatment than this film--which looks more like a propaganda film than anything else. Fake, fake and fake from start to finish, as NO ONE talks the way these characters did.

From RKO studios in 1936 (though it looks as though it were made in the earliest ‘30s), during the heyday of the Astaire-Rogers musicals, came something rich and strange. Maxwell Anderson's very serious poetic play was boiled down into a movie that's part Depression-era gangster flick, part Shavian social-issue drama, and part neo-Greek tragedy.

The igniting fuse was the Nicola Sacco/Bartolomeo Vanzetti case of 1927, where two immigrant anarchists were condemned (some would say railroaded) to death supposedly for a robbery in which guards were killed. Anderson pushes it back to 1920 and focuses on a single man, Bartolomeo Romagna (John Carradine), whose auto, filled with anarchist/socialist tracts, is stolen for a similar crime by gangster Eduardo Cianelli. When condemned, Carradine eloquently rebukes the judge (Edward Ellis).

The film now flashes forward to 1936, when Romagna's down-and-out drifter son (Burgess Merdith), spurred by revisionist theories of the case, journeys to New York to confront the surviving principals, including Cianelli, Ellis and a reluctant witness (Paul Guildfoyle). All converge for a reckoning preordained by The Fates....

Anderson has heightened his dialogue to lend it immortal aspirations (which may have been a grandiose miscalculation – the dominant rhetorical mode of the twentieth century, obvious even by 1936, is flatting). The high-flown posture extends to the look of the film, too – a stylized nightscape that's a harbinger of the look of film noir to come a few years later. A low-ceilinged tenement-basement flat is oppressively claustrophobic (markedly so, given the number of actors crammed into it), while the cobblestones and stone arches of the low-rent streets near New York's waterfront glisten wickedly in the pelting rain. (At times the slums look like the central squares of those Transylvanian villages so common in Universal horror pix of this era).

Almost every element of Winterset should seem laughable now – but doesn't (though there are a few close shaves). There's an early sequence involving a hurdy-gurdy that lures the slum-dwelling underclass out of its burrows to dance that's hauntingly powerful – as is the face of Winterset's love interest, an actress known as Margo, that harks back to the expressiveness of the silents.

Call it Vintage, if you will, but you will not call Winterset boring unless a world of interesting details bore you. The movie is full of sub-stories, full of details that bring back the early days of everyday troubled life for Americans, especially New Yorkers. While not actually typical, the story is one that hangs together.

I suspect the story plot and actor management of the story were perfected on Broadway long before going to film. It is both engaging and fascinating for movie buffs who are students of the perfected B/W film and is a study in filmography which makes one wonder if this is not the height of perfection, if you will, concerning films of that genre: Good story, good delivery and good conclusion.

The story is not one with a tragic ending for the principles. It is not one that builds up the viewer's expectations and hopes and then dashes them in the end. While there are hints of evil and tragedy, the people most deserving receive this end, the ones who deserve the best of the ending actually do get the best in the end.

The organ music is superb for selection and for an almost hypnotic melody that plays on in one's head for some time afterward. A nice, pleasant melody. And on it hangs the turning point in the movie, a grand hook to hang the ending.

The antics of the policeman is what one would expect of one of New York's finest of that era. A masterful job of acting.

Most of all, Margo! She was again engaging, spell-binding and her job well-done. She caused the viewer to want to provide her sympathy from a good and kind father, who was incapable of doing all he could for his children, and to a brother who was caught up in a crime and later regretted it and who endeavored to correct his mistake. Again, superb acting.

Overall, Winterset stands out as one of the most enjoyable movies I have ever watched. I try to share it with friends who have never seen it before. None who see it for the first time have been disappointed.

Maxwell Anderson's Pulitzer Prize winning Broadway play was brought to the screen by RKO in 1936 with the original cast members, and Anderson himself adapting the Screen-Play.........The results were a hard-hitting expose' of injustice in the Judicial system of the 1920s........Based loosely on the Sacco-Vancetti trial of the 1920s, Anderson wrote a powerful adaptation of his Stage hit...........Burgess Meredith, along with Eduardo Ciannelli reprised their Stage roles as Mio, and Troc Estrella respectively in their first screen appearences......Both would go on to do scores of films and stage work for decades to come after Critic's raved about their work in "Winterset"......Set under the Brooklyn Bridge for most of the film, the characters involved in the injustice, assemble seeking the truth & to avoid it becoming public knowledge.........Ciannelli's "Troc Estrella" is one of the screens most dastardly bad guys of all time......and Stanley Ridges is a standout as "Shadow' his henchman...............The Musical score by Nathaniel Shilkret & Max Steiner(un-credited) was nominated for an Oscar.......It was so compelling in this Dark-Drama, that Orson Welles used portions of it in his film "Journey Into Fear'-1942....also released by RKO.......If you are a fan of fine Dramatic Acting, superb musical scoring, and very early film noir(1936)....you should see "Winterset.......Tense, Poetic, and spell-binding....It is available on Video and DVD at Amazon.com, for a very low price.......Respectively submitted, sasheegm at the movies

WINTERSET was a big hit on Broadway and RKO's decision to retain Burgess Meredith, Margo, and Eduardo Ciannelli to repeat their original stage roles is a major reason for the success of the film version. That they were able to adapt their performances to the intimacy of the camera is remarkable. Maxwell Anderson's dialogue is naturalized considerably from its poetic original but enough of the beautiful lyricism is retained in Anthony Veiler's screenplay to make it a very special script. While Ted Hecht must have been very good on Broadway as Garth, Paul Guilfoyle's performance in the film resulted in perhaps his best and most important screen work. Two other performances deserve special mention. Stanley Ridges as Shadow is menacing without being paranoid as is his boss, played by Ciannelli. Ridges' bloody appearance in the Esdras doorway is one of the most shocking screen moments in 30's cinema. And Willard Robertson, who made a career out of playing impatient meanies is beautifully obstinate as the boorish patrolman. Russian actor Maurice Moscovitch makes his screen debut as Garth and Miriamme's father. A veteran of the Yiddish Theater, Moscovitch later played Paulette Goddard's father in THE GREAT DICTATOR but died before that picture's release. Another Russian, Mischa Auer, makes one of his rare dramatic appearances as a social radical.

The physical set is beautiful, especially the stone-style recreation of the alley and stairwells beneath the Brooklyn Bridge. Finally, the film boasts a rare original score by Nathaniel Shilkret. Shilkret was a longtime bandleader who made records for RCA. He was hired as part of the RKO music staff in 1936 to replace Max Steiner who was leaving to join fledgling org Selznick-International. Shilkret's bold compositions for WINTERSET enhance the theatricality of film, though most of the dupe prints extant on video reproduce the soundtrack with very limited fidelity.

For modern audiences with little patience for plays-made-into-films that represent their stage origins, WINTERSET will be a disappointment. But for those who can appreciate the care with which director Alfred Santell took to recreate much of the prosaic beauty of the Broadway original, WINTERSET will be a rewarding experience - if you can see it in a respectable copy.

WINTERSET (RKO Radio, 1936), directed by Alfred Santell, is not a movie set in the winter but a screen adaptation to the 1935 Maxwell Anderson prize winning play. Starring Burgess Meredith with Paul Guilfoyle, Maurice Moscovitch, Myron McCormick and Fernanda Eliscu in their movie debuts, it also co-stars Mexican actress Margo, all reprising their original stage roles. With the studio attempting to produce a motion picture to surpass the stage play through its artistic and heavy handled style in John Ford's earlier success of THE INFORMER (RKO Radio, 1935) starring Victor McLaglen, WINTERSET, which was critically acclaimed, is said to have done poorly at the box office. Overlooking the fact that the film lacks notable top marque names as Paul Muni, the performances are strong enough to be believable. In the style of KING KONG (RKO, 1933), WINTERSET is heavily underscored which at times drowns out the wording of the player's spoken dialogue. The story, which is said to have been loosely based on an actual incident, has developed into one of those dark and moody movies that needs to be seen a few times to actually feel the dramatic impact its director was attempting to present.

The story begins with a prologue, set in 1920 in a small manufacturing town near New York City. Three men, Trock Estrella (Eduardo Ciannelli), the crime boss and cold-blooded killer, assisted by Garth Esdras (Paul Guilfoyle) and Shadow (Stanley Ridges), enter and steal a parked car belonging to Bartolomeo Romagna (John Carradine), an Italian immigrant radical with a wife (Helen Jerome-Eddy) and young son, Mio (Bobby Caldwell). The car is used for a payroll robbery by which Garth shoots and kills the factory's paymaster. Found abandoned on the road by the police, the car is traced to its owner Bartolomeo who is arrested. Because of flimsy evidence at the trial, Bartolomeo is found guilty and sentenced to execution by Judge Gaunt (Edward Ellis). The prologue concludes outside the prison walls as mother and son watch for Bartolomeo's signal of death. Sixteen years later, 1936. The Romangna case is reopened by Professor Liggett (Murray Kinnell) at the Eastern Law College where law students believe and report to newspapers the Romangna case was unjustified. While Estrella has served time for petty crimes and short jail sentences, he has never arrested for the actual crime pitted against Bartolomeo. Now that the case is in the news again, Trock would like nothing more than to locate Romagna's son and others involved with the robbery put out of the way permanently. The now adult Mio (Burgess Meredith), who had been living a reclusive life, returns to the scene of the crime at the outskirts of the Brooklyn Bridge with his friend, Carr (Myron McCormick), to gather enough evidence and expose those responsible for his father's execution. He later meets and falls in love with Miriamne (Margo), unaware of her being related to one of the three killers involved in the payroll robbery. Co-starring Maurice Moscovitch (Mr. Esdras); Mischa Auer (The Radical); Willard Robertson (The Policeman); Alec Craig (The Hobo); and Barbara Pepper. It is said that future TV star, Lucille Ball, appeared as an extra, but couldn't find her.

WINTERSET has the distinction of being a stage play transferred to the screen with most of its original players reprising their roles. Aside from Meredith, Eduardo Ciannelli makes a believable crime boss with one notable scene where he turns coward when confronted by a man holding his gun towards him. Fine support goes to Edward Ellis as a guilt-ridden judge, Margo and Paul Guilfoyle both giving sensitive performances. While the conclusion of the story said to differ from the play, I feel the change beneficial to its weighty screen adaptation.

While WINTERSET has not developed into a sort-after classic, it did enjoy frequent television revivals on public and cable television stations as Christian Broadcasting Network (CBN) in the 1980s, around the same time the movie was distributed to home video and decades later DVD. To date, it has never been presented on American Movie Classics (during its RKO Radio title showings prior to 2001) and Turner Classic Movies. Because poor prints in circulation make WINTERSET a little hard to sit through, its the sort of movie and stage reproduction should not go unnoticed. (***1/2)

There is very much here that you recognise from other movies, but they all came afterwards, especially the French "Port of Shadows" a few years later, that really opened wide the stage for noirs. Here is a great play to form into a film, and the transmutation is successful, retaining all the theatrical and dramatic values and points, and also made fascinating as a film, mostly because of the settings - you can never make it rain so much and constantly on a theatre show. The acting is also superb, especially by Burgess Meredith, and as his father you see the young John Carradine, and Misha Auer also has a small part as an efficient radical. The main point of interest though is the argument, about the dilemma of justice gone wrong - a wrongly pronounced sentence, here to the electric chair in 1920, will have consequences as long as no correction has been made, and here, 16 years after the execution, an entire school of young law students all unanimously arrive at the conclusion that justice had been miscarried. The judge himself will suffer for this for the rest of his life, clinging to the illusion that he just followed the law, but constantly tortured by John Carradine's lasting and undying curse. There are also minor delightful details enhancing the quality of the film, like the halfwit coming to seek protection against the rain and the cold and even he ultimately although unconsciously acting as a major link in the chain of irrevocable universal justice. It's a great film that should be worth restoring to perfect quality, saving it from the gutter of worn down discarded videos of the 30.s.