Titanic

The story follows a handful of characters, most fictional but a few real ones, on the ill-fated transatlantic sea voyage in 1912 that ended in tragedy. Wife Julia (Barbara Stanwyck) and husband Richard Ward Sturges (Clifton Webb) are squabbling over the upbringing of their two children, daughter Annette (Audrey Dalton) and son Norman (Harper Carter). Julia admits that Annette is a hopeless snob, but she plans to bring young Norman up in America where she hopes to make a normal person of him. When hubby balks at giving up his son as expected, Julia has one ace up her sleeve. Complications ensue, some of them quite touching even considering the overall situation.

Meanwhile drunkard George Healey (Richard Basehart) staggers around on deck, nouveau riche Maude Young (Thelma Ritter) tries to relax, and ship's captain Smith (Brian Aherne) is oblivious to the impending danger. Robert Wagner stars as the wholesome college boy whose teeth practically sparkle who might be able to bring Annette down to earth.

The setting and situation are familiar to most by now, but I still enjoyed this disaster effort that resembles the future disaster "epics" of the 1970's. It follows the usual formula of establishing the characters and their petty troubles before casting them into harm's way, many of them to their doom. I thought Stanwyck and Webb were an odd couple on paper, but it works out fine in the movie, and Webb is very good, especially during the last 20 minutes or so. I was also impressed with Edmund Purdom as a ship's officer with a suspicion of the dangers ahead. The movie won the Oscar for Best Original Screenplay (Charles Brackett, Walter Reisch & Richard L. Breen), and was also nominated for Best B&W Art Direction.

I just saw this film again. The only other time I saw it was probably 40 years ago on "Saturday Night at the Movies," when it made a powerful impression. It still does, in part thanks to the marvelous acting of Clifton Webb and Barbara Stanwyck, who looks particularly lovely in this movie. They and their young son and daughter are the focus of the story. Both wonderful actors, if they seem an unlikely couple at first, you probably won't think so by the end of the movie, they are so superb.

In this version, Stanwyck is actually leaving her husband (Webb), unbeknownst to him, but when he realizes what's happening, he bribes the father in a lower class for his ticket. Webb is a social climbing, superficial man, and his American wife wants more for her kids than snobbery, arranged marriages, and a series of hotels instead of a home, so she is going back to her family with the children. What happens to Webb and Stanwyck's relationship during the voyage is powerful, touching - and, alas, too late.

While on board, a young, gorgeous Robert Wagner plays a college student suitor to the daughter, played by Audrey Dalton. Webb's last scene with Stanwyck will leave you in tears, and if it doesn't, there's also the poignant scene on deck with his son, Norman, which is beautiful.

I don't pretend to be an expert on the Titanic - however, I know a little more than a friend at work who, announcing she was seeing the Cameron version when it first came out, said, "Don't tell me how it ends." I realize that the Fox script drew a good deal of information from the navigation reports of the ship; however, I saw a documentary which showed footage of this film while it demonstrated that in this telling, the underwater scene shows the iceberg hitting on the wrong side.

I have also seen "A Night to Remember," which I also remember as being a very emotional experience. Perhaps it's the story that tugs at our hearts, or the site of that huge vessel sliding beneath the surface. Whatever it is, this is a truly engrossing and heartwrenching film.

What a surprise to see this 1953 sinking of the Titanic after the long and expensive James Cameron version. To say that Jean Negulesco's version is better is saying only half of it. In fact it is much, much better. The whole story told in half the time with a scrumptious script by Charles Brackett and Walter Reisch and superb performances by Barbara Stanwyck and Clifton Webb. The 1953 special effects are as effective as anything in Cameron's film but, I believe, that the secret of the older version is that the heart and mind of the filmmakers were on the human drama and the effects came to be part of it and not its center. It was also a time when stories were told thinking of an adult audience. The poignancy of of the tale is thought out by thinking people for thinking people. In the modern version, Leo teaches Kate how to spit, remember? Just look in Negulesco's version the power of the unfolding. Two disasters, one natural, irreversible, the other, human with unexpected twists and turns. Thelma Ritter plays Molly Brown with extraordinary little touches. Look at her eyes when she witnesses Webb shabby treatment of his son. Young and gorgeous Robert Wagner is a delightful plus. I advise you to rent it, you'll be amazed.

Just a precaution: If you are expecting a completely accurate historical account of the night with all the scientific details neatly in place, look elsewhere. This film instead focuses (touchingly) on the human drama involved with the ship, with many of the elements of real passengers' accounts rolled into the story of Clifton Webb and wife Barbara Stanwyck (Both excellent; when Isn't Barbara Stanwyck excellent?) and their children. A few real characters are involved, but for the most part the drama surrounding the fictional characters is in the forefront. A beautiful and striking account, the film deserved a few more Oscars than it got, primarily for Miss Stanwyck and a supporting Oscar for Robert Wagner, who does wonderfully in his role.

The media is full of reports of the maiden voyage of the unsinkable Titanic and all are excited about the prospect, whether it be the third class passengers travelling to a new life or the first class passengers travelling to continue the good life they have. Richard Ward Sturges is not a passenger but he buys a third class ticket off someone else then makes his way up to first class. He has done this because his wife has taken his son and daughter on board the Titanic. Tired of an uncomfortable life among the British upperclasses, Julia Sturges is seeking a "normal" life for her family back in her native America, and if that means being away from the stiff and very English Richard then so be it. As their marital drama is played out, the Titanic sails on ever faster, with bigger problems just over the horizon for all of the passengers.

Many decades before James Cameron delivered Titanic as a disaster movie with a dramatic relationship at its core, someone else had already done it with this 1953 disaster melodrama. The main difference in the narrative is perhaps a note on the difference with our time because the story is not about romantically intertwined young people but rather an older married couple and their romance. Aside from this difference the approach is similar because the majority of the film is a melodrama driven by the characters, which then is fitted into the bigger drama of the ship sinking, taking many with it. Unlike the effects-heavy modern version, this film puts the focus on the family drama happening.

This works well in making for an engaging film as we see the very English Richard clashing (in an English way) with the more modern Julia in their relationship. Of course it all comes good in the end (well, in a way) but up till then this centre-piece held my attention well. The emotion during the actual sinking of the ship is well received as well, it is restrained and very much the stiff-upper-lip type of thing of the period. Compared to the manipulative use of music and sweeping expressions of emotions in the remake, I must admit I found the changes in the characters played out with restrained emotions of the disaster. The cast work well with this. Webb is strong in his character, retaining what makes the man while also softening towards the end. Stanwyck does likewise, convincing in her early character but yet able to find the love inside her character from the past. The rest of the cast are solid enough but do not really have the same material as the two leads; Dalton, Aherne, Wagner, Basehart and others are all good enough for what is asked of them and, as normal, Ritter is entertaining in her usual character.

Overall then, an engaging melodrama that maintains a very British sense of emotion but yet is still quite moving. Those who have not yet seen the remake for what it is should perhaps take a pass at this and see if they prefer this version for being shorter and more restrained.