Les feux de l'été

It was the time when they called him a young new star and it was his breakthrough to stardom, fame, and success. The moment Paul Newman's Ben Quick, rebellious and irresistible drifter enters a rural Mississippi town of Frenchman's Bend to stir up its women, puzzle its men and to catch the interest of Big Daddy Varner (Orson Welles, the ferocious force of nature seemed to have fun playing Will Varner and experimenting with make-up) the town richest and most powerful redneck who perhaps sees in Ben a lot of himself, the screen legend was born.

"The Long, Hot Summer" (1958) is based on five short stories and a novel by one of the America's greatest novelists and storytellers, the expert of Southern life, William Faulkner, and the film is a steamy, moving, often funny (perhaps, unintentionally) tale of lust, greed, jealousy, and larger than life personalities and their clashes. I guess I need to read more Faulkner's stories because I was surprised to see the film that is based on the works of the writer known for his heavy use of such sophisticated literary techniques as symbolism, allegory, and especially stream of consciousness, the film which linear narrative is easy to follow from the third person point-of-view.

Besides Paul Newman who was as talented as he was hot, his off- screen wife-to-be Joanna Woodward shines as Clara Varner, Will's intelligent, thinking daughter, the teacher in a local school whom her father wants to see married (and not just wants but takes certain steps that Clara does not like and feels offended by). The film was the first of many Newman's and Woodward's collaboration and it is not easy to recall the greater chemistry between two leads. Orson Welles dominates the screen in his every scene as expected. 21-years-old Lee Remick (Eula, Varner's daughter-in-law, sexy and innocent woman-child), Anthony Franciosa (Jody, Varner's overlooked and jealous son), and Angela Lansbury (Minnie, the woman who has her own plans about future that include a widower Varner in them) all add to the sizzling fun that "The Long Hot Summer" is.

THE LONG, HOT SUMMER is one solid melodrama about tradition and family, which is based on some short stories by William Foulkner. One depressed, but confident drifter, who has a reputation of a arsonist, comes in a small town. The most powerful man in the town wants to try a young suspect. Thus, the rich man begins to respect the young man because of his determination. The young man understands job better than the rich man's reluctant son and it seems that he is the perfect opportunity for a rich man's daughter. However, desires of some of the protagonists will not match with hidden truths...

People will create a storm in a small and very hot town. This storm is full of greed, hate, lies and misunderstandings. The scenario is not bad. The sharp dialogues are tense and full of bitterness, contempt and sarcasm. Honesty is somewhat present, but it can not come to the fore. The atmosphere is constantly stretched through sexual charge and wild whim of individual protagonists.

The acting is good, but the chemistry between the main protagonists could have been a lot better.

Paul Newman as Ben Quick is determined and resourceful young man who will try to deceive members of one family in order to become the successor of wealth. His character is furious and disturbing. Real trouble in the city. However, he becomes a victim of his own manipulations and hidden vulnerabilities. Joanne Woodward as Clara Varner is an independent woman who is able to confront a brazen intruder and a vile old man. Her biggest weakness is "forlorn hope". It is difficult to deal with one's own own life ideals and the coming sexual attraction. Clara is the central figure in this film. Her performance is quite touching.

Orson Welles as Will Varner is a stubborn and vulgar local tycoon. Anthony Franciosa as Jody Varner is a weak son, who fought for his father's love. Lee Remick as Eula Varner is playful daughter in-law.

The last scenes are quite inconclusive. Birds of prey are quickly tamed and harnessed. They have to face the truth in crucial moments. Their confrontation was inevitable. However, melodramatic, generous and warm ending is a big flaw of this film.

I've always loved a recording I have by Gordon MacRae of The Long Hot Summer, not knowing it was sung over the titles in this movie by Jimmie Rogers. Good songs always add to a movie I've always thought and this romantic drama gets a boost from this lovely melody. Paul Newman and Joanne Woodward married either here or shortly after and went on to collaborate on many other movies. This must be one of the best although as I say, it is flawed. Mainly because Newman's Ben Quick couldn't really have taken on all the things he gets to do here in the space of just a few days.

Nevertheless I loved this movie and the stellar cast that included Lee Remick as Joanne's sister in law, Tony Franciosa as her disturbed brother, Orson Welles as their dominant bullying father, Angela Lansbury as Welles' girlfriend and Richard Anderson as Joanne's boy friend. Beautifully shot and superbly directed by Martin Ritt, the movies just sparkles thanks to these actors.

I saw this film again last night at an old-time movie palace, in an audience of about 2,000 people. The film, which I had seen before, was even more enjoyable then the previous times I had seen it on TV. For one thing, it has some very lovely and well executed uses of the CinemaScope frame. It shows both the dry openness of the landscape, as well as the lush extravagance of the plantation estate which belongs to Orson Welles' character. I'm not too familiar with Faulkner's stories, but the plot elements of this film flow together rather nicely, and there isn't really a dull moment in the whole picture. The only part which is still difficult for me to take, is the resolution of the conflict between Welles' and Franciosa's characters. That scene builds up to something in a matter of minutes, and then suddenly it's over. I could hear disappointment in some audience members in the theater as well, including one person who shouted "What the heck was that about?". This aside, it's still a worthwhile film to see, and the acting of Newman, Woodward, and Welles are standouts. There are also plenty of (probably unintentional) laughs to be had as well. One of the better soap opera-type films to come out of the late 1950s.

The Long, Hot Summer is an adaptation of William Faulkner's novel The Hamlet. Now, I just happen to be one of the world's biggest Faulkner fanatics, having read all but five of his novels. I have read The Hamlet, and it is a somewhat lesser work than his grand masterpieces (The Sound and the Fury, As I Lay Dying, Absalom, Absalom!, A Light in August, and Go Down Moses; I would also add, though they are lesser known than those five, If I Forget Thee Jerusalem and Pylon). It is more or less a novel made up of a bunch of various stories about the Snopes' family invasion into Yoknapatawpha County in the early part of the 20th Century (1920s, if I remember right; it's been a while since I've read that novel), and as such, it is quite poorly constructed. Faulkner's miraculous writing is intact, but the structure is convoluted.

The Long, Hot Summer changes most of what happens in The Hamlet, but it still ends up feeling very Faulknerian (if a little Hollywoodized, especially around the ending). The Hamlet contains a cast of several dozen townfolk and the Snopes family, a Northern family of carpetbaggers who have their eyes set on the hamlet of Frenchman's Bend. The main character in the novel is Flem Snopes. His name is changed in the film to Ben Quick, who was himself one of the original townspeople in the novel (in fact, the Quick family, although they never play a major role in any novel or even short story, pops up constantly in Faulkner's mythology). Quick is played impeccably by Paul Newman. If Flem Snopes had remained as he was written by Faulkner, Paul Newman would have been way too handsome to play him. Instead, the screenwriters,Irving Ravetch and Harriet Frank Jr., have made him more likable without losing his complexities. They do it by making Ben Quick the little boy who runs away from his barn burning father ( from the short story, one of Faulkner's most anthologized, Barn Burning). That little boy disappears without a trace in Faulkner's writings. Flem Snopes, a teenager during Barn Burning, stays by his father's side afterwards.

Will Varner remains fairly intact in the film, the most enterprising of any person in the community. He may actually have a more complex character in the film than in the novel. The literary character is more or less an opponent who is forced to deal with Flem Snopes and his family. Here, Will Varner meets a man who reminds him too much of himself in Ben Quick. The filmic Varner has a rather selfish desire to have grandchildren before he dies, and he tries desperately to get his two children to reproduce for him. In the novel, Will Varner has 16 children. With Orson Welles, we should expect nothing more than the best, and we get another one of his masterful performances here. Will Varner is a lot like Hank Quinlan from Touch of Evil (which was released the same year), and the complexities that Welles communicates here are equal to his Charles Foster Kane or Harry Lime.

All the other characters are basically completely changed from the novel. Eula Varner is still a sexpot, but she is no longer Will Varner's youngest daughter, but his dauther-in-law (Flem Snopes originally married her). I don't remember Jody Varner too much from the novel, but I'm pretty sure the insecurities he feels towards Ben Quick were created by the screenwriters (Will Varner never got chummy with Flem Snopes in the novel, so there would be less of a reason for the hatred of Jody). I believe Clara Varner either didn't exist in the novel, or she was much less important. She certainly wasn't the school teacher, since he fell in love with Eula Varner at 13 and ultimately had to resign because of his lust, and then one of the Snopeses taught, I think I.O.

The part of this film that really gives it power is the amazing dialogue. I'm pretty sure that no direct dialogue, or at least very little, was taken from the novel. It was all created by Irving Ravetch and Harriet Frank Jr. It is absolutely poetic. I don't think that there is much dialogue in the novel. Faulkner rather likes to tell his stories silent for the most part. Also, if you are a Faulkner fan, or a fan of this novel in particular, keep your eyes open for echoes of other novels or of things that have dropped out here. There is the sewing machine salesman crack when Ben Quick is approaching Varner's mansion (a joke about the salesman Ratliffe, who provides a majority of The Hamlet's point of view), the hint at Absalom, Absalom! (when one of Varner's horses foals near the end), and the hint at A Light in August (the fire in the distance, the townspeople moving towards it). All in all, The Long, Hot Summer is a masterpiece. It is a beautiful, passionate, and intelligent film, and the best literary adaptation of which I am aware, or maybe only second to The Unbearable Lightness of Being.