Olivia de Havilland is “The Heiress”

The Heiress (1949) is an American drama produced and directed by William Wyler and starring Olivia de Havilland, Montgomery Clift, and Ralph Richardson. The supporting cast included Miriam Hopkins, Mona Freeman, Selena Royle, and Vanessa Brown.

The film takes place in New York City in 1849 and concerns one Catherine Sloper (de Havilland), a shy young woman, who lives with her wealthy father Dr. Austin Sloper (Richardson). Dr, Sloper and Catherine live in the prestigious Washington Square neighborhood.

When Catherine is introduced to Morris Townsend (Clift) at a ball, she is charmed by the handsome young man. Catherine falls madly in love with Morris. He seems gracious and caring…and loving. However, Catherine’s stern father disapproves of the relationship, concerned that Morris is only interested in Catherine because of her wealth.

Will Catherine and Morris’s relationship thrive or die over her father’s objections?

 

Montgomery Clift, Olivia de Havilland, and Ralph Richardson

William Wyler (1902 - 1981) was an American (born in Mulhouse, Alsace, then part of Germany) film director and producer. He won the Academy Award for Best Direction three times: Mrs. Miniver (1942), The Best Years of Our Lives (1946), and Ben-Hur (1959). Wyler was nominated 12 times for Best Director, an Academy Award history. Wyler started working in the movie business during the silent era, eventually making a name for himself as a director in the early 1930s. He would go on to direct Wuthering Heights (1939), The Westerner (1940), and The Little Foxes (1941). Actress Bette Davis received three Oscar nominations under Wyler’s direction, winning her second Oscar for her performance in Jezebel (1938). Other popular films directed by Wyler include The Heiress (1949), Roman Holiday (1954), Friendly Persuasion (1956), The Big Country (1958), and Funny Girl 1968).

Olivia de Havilland (1916 – 2020) was a British-American actress and two-time Best Actress Academy Award winner. De Havilland’s career spanned more than five decades. She was one of the leading actresses of the 1940s and was the last major surviving star from Hollywood’s Golden Age. Some of de Havilland’s classic films include The Adventures of Robin Hood (1938), Gone with the Wind (1939), Hold Back the Dawn (1941), To Each His Own (1946), The Snake Pit (1948), and The Heiress (1949).

Montgomery Clift (1920 – 1966) was an American actor. He was a four-time Academy Award nominee for Best Actor. Like Marlon Brando and James Dean, Clift was considered one of the original method actors. Clift got his start on the stage as a young man and starred opposite the likes of Tallulah Bankhead, Frederic March, and Alfred Lunt and Lynn Fontanne. Clift’s first movie role was in Howard Hawks’s Red River (1949), starring opposite John Wayne. He went on to co-star with Olivia de Havilland in William Wyler’s The Heiress (1949). He reached superstar status in the role of George Eastman in the George Stevens production of A Place in the Sun (1951), starring opposite Elizabeth Taylor. Clift would later star in Alfred Hitchcock’s I Confess (1953) and Fred Zinnemann’s From Here to Eternity (1953). Other films followed, including Raintree County (1956), The Young Lions (1958), Lonelyhearts (1958), Suddenly, Last Summer (1959), and Wild River (1960).

Ralph Richardson (1902 – 1983) was an English stage and screen actor. Along with John Gielgud and Laurence Olivier, he dominated the British theatre for most of the 20^th century. Richardson worked in movies in Britain and the United States throughout his long career. Some of his famous films include The Fallen Idol (1948), The Heiress (1949), Long Day’s Journey into Night (1962), Women of Straw (1965), and Doctor Zhivago (1965).

 

Olivia de Haviland and Ralph Richardson

The Heiress trivia

• After seeing The Heiress on the Broadway stage, de Havilland approached William Wyler about directing her in a screen adaptation.
• Wyler became a fan of de Havilland’s acting talent and was annoyed by Clift’s disdain for her performance and for Ralph Richardson’s attempt to scene-steal through improvisation.
• Clift was so disappointed by his performance that he walked out of the premiere.
• Basil Rathbone played Dr. Sloper on the stage and hoped to recreate the role for the film version.
• De Havilland won her second Best Actress Academy Award for her performance.
• Wyler originally wanted Errol Flynn to play Morris.

 

Click HERE to watch the film at the Internet Archive

Click HERE to learn more about the film and preview the discussion questions. Once you RSVP, you will receive an email with a link to the discussion on Zoom.

 

Discussion questions

1. Many consider Olivia de Havilland’s performance as one of the greatest of the 20^th century. Do you agree?
2. When do you think Catherine’s personality began to become imbittered?
3. Montgomery Clift was unhappy with his performance. What did you think? Was he wrong to be unhappy about it?
4. What did you think of Ralph Richardson’s characterization as Dr. Sloper? Do you think he loved Catherine?
5. Do you think Morris was interested in Catherine only for her money?
6. Would Catherine have been happy with Morris if they had married?

Films From My Father

Child of the Depression
My dad grew up during the Great Depression. Like many kids his age, he went to the movies at least once a week. Back in the late 1930s, a Saturday at the movies might have included several films. The main attraction was generally an A-picture, one with major movie stars, a second feature or B-film with lesser stars, a cartoon, a serial, and a newsreel. If you lived in a relatively large city, you may have experienced some live entertainment. And on some other days, you may have gotten a free gift like Constance Bennett makeup (to give to your mom) or an ice cream cup.


A Love of the Movies is Born
Part of the reason I love the movies, is due to my father’s influence. In the days before cable, old films would routinely show up on television on Saturday and Sunday afternoons. My dad and I often watched movies together. Dad seemed to know every actor in every movie we watched, right down to the character actors who uttered but one line. In those days my favorite movies were the Abbott and Costello comedies, Buck Privates, Keep ‘Em Flying, and Hold That Ghost. My dad enjoyed these films too, but he also had a fondness for two classics released in 1939: Gunga Din and The Four Feathers. Most classic film buffs have seen Gunga Din at least once, but the same cannot be said for The Four Feathers, my father’s favorite film when he was a young man.

June Duprez and John Clements

Third Time is a Charm
The third movie version of the A. E. W. Mason novel is considered the best of the bunch. Produced by Alexander Korda and directed by brother Zoltan, The Four Feathers is an epic production, filmed in Technicolor when the process was still a bit of a novelty. Like Gunga Din, it portrays the British Empire, during the late 19th century, in the best possible light, but we won’t take issue with that here. As an adventure and melodrama, The Four Feathers is hard to beat.

Impeccably British
Starring an impeccable British cast, including John Clements as the conflicted aristocrat Harry Faversham, Ralph Richardson as his commrade and rival John Durrance, and the always enjoyable C. Aubrey Smith as General Burroughs, who constantly reminds everyone how he single-handedly won the Crimean War.

Harry Faversham's Dilema

A publicity still promoting the film

The plot revolves around Harry’s decision not to follow in the family tradition of serving in the army. He very dramatically resigns his post on the eve of his regiment’s journey to the Sudan. Their mission: To recapture Khartoum. Branded a coward by friends —the white feathers given to Harry by his comrades are emblems of cowardice—, and his fiancée played by the lovely June Duprez. As a result, Harry becomes a tormented soul. In an attempt at redemption, he disguises himself as an Arab to rescue his friends, who are imprisoned by Egyptian rebels, and prove that he isn’t a coward. As you might expect, Harry is successful in the end, reclaiming his honor, his friends, and his fiancée. A good story supported by a superior production, The Four Feathers holds up remarkably well. The on-location color cinematography is remarkable. The spectacle of the battle scenes combined with the dazzling red uniforms of the British soldiers still impress today. I remember how awed I was when I saw How The West Was Won, shot in Cinerama, in the theater. I think my dad, then barely 16 years old, must have been similarly impressed by the scope of The Four Feathers upon its initial release.

"Explosively Cinematic"
Many of the scenes shot on location, give the film a polish unmatched by its contemporaries. Osmond Borradaile (I Was a Male War Bride) shot the scenes in the Sudan and Georges Perinal (The Life and Death of Colonel Blimp) shot the rest of the film. What seems remarkable is the almost entire lack of process photography. Even The New York Times film critic was impressed, (no easy task then as now) calling it “explosively cinematic” and overwhelmed by the “sheer weight of size and width of camera field.”

An Overwhelming Year
The Four Feathers had the misfortune of being released in 1939, the year of Wuthering Heights, The Wizard of Oz, Stagecoach, and the Civil War epic, Gone With the Wind, which swept the Oscars that year. Nominated for a single Academy Award (best color cinematography), The Four Feathers was one of many great films vying for attention in 1939, perhaps the most remarkable year in motion picture history.

No matter what its reputation today, The Four Feathers will always hold a special place in my heart because it reminds me of my father and those lazy afternoons of movie watching that we shared.