Dodsworth (1936)
Director: William Wyler
Honors:
It is a less extravagant picture when compared to the usual fluff seen
coming out of the Hollywood system at the time, about the ugly side of
marriages and divorce, but Dodsworth
is a wonderful motion picture filled with great acting, tremendous directing,
and classic motion picture class. Out of the independent Samuel Goldwyn
Productions comes a feature with emotions that go deep into audiences about a
failed marriage and is done so with great quality, in part to its director
William Wyler, creating a wonderfully received picture for 1936 and for all
cinema history to enjoy.
Dodsworth is a drama about a
self made man and his relationship with his restless wife who fears the idea
that they are growing old causing a deterioration of their long marriage. Sam
Dodsworth (Walter Huston), the successful founder of a great automobile
manufacturer, sells his company to sets sail on a European excursion with his
wife Fran (Ruth Chatterton). Increasingly fearful of the idea she is growing
old and stale Fran begins to resent her loving husband as his ways and actions
as a retiring magnate only makes her think she too is no longer youthful. To
live a more sophisticated and active life she begins to philander in the ideas
of affairs, first with another rich, sophisticated man (Paul Lukas), then with
a wealthy Baron (Gregory Gaye), finally informing Sam that she is leaving him
for the Baron. A saddened Sam befriends Edith, a divorcee he meets while on his
travels in Europe, and through their friendship begins to forget about his
divorce proceedings with his estranged wife, but when Fran’s proposed marriage
crumbles because of her divorce Sam is loyal to return to her, at the behest to
the growing friendship and growing love with Edith. In a final moment of
realization as Sam and Fran are about to embark for home, Sam recognizes this
marriage is truly over, finally leaving Fran on the ship while he returns to
Edith.
It is such a simply done film about the complications of two growing
apart. It’s a touchy subject, but makes for a wonderful picture. We follow the
story of this man that had everything that made him content in life try to
please his ever more restless wife, only to lose her and discover new things
that make him happy in both lifestyle and people that he would have never have
known it was not for his selfish wife and the pain of losing what he thought
was a good marriage. To ground the look on the relationship on more down-to-earth
terms Sam and Fran even have a grown up daughter that attempts to help her
father with his transition in life from career to retirement. This daughter
bares a her parents a grandchild, which at first delights Fran until she
realizes that gives her the title of “grandmother,” causing her only to grow
further away. It’s a tragic tale that is gripping, and even though this man
loses what he once had in life and family, he gains a new, refreshing
perspective on living.
This would be the first real masterpiece of director William Wyler.
Once a lowly stage hand on the Universal Studios lot grew into a directing
role, but with his move to Samuel Goldwyn was allowed to flourish with his
skill behind the camera. He would become known for his perfectionism, at times
using several dozen takes to get a shot right. This over-care for the details
in his film would pay off well in this picture and it would in his future in
film. In this feature Wyler is said to have shot dozens and dozens of takes on
the singular shot with Fran burning a letter from Sam as it needed to blow
perfectly away in the wind for it signified the ending of the marriage for good
from Fran’s perspective. It is this care that was used for nearly everything in
his filmmaking process, coaxing wonderful performances from his actors and
landing him his first nomination for best director, which would one day be the
longest list of nominations for any director’s career.
Walter Huston would reprise the role he first played on the stage
version of the Sinclair Lewis novel. His Middle America style and innocent
charm makes for his wonderful performance. To play his wife was the veteran of
critical fame during the early 1930s Ruth Chatterton. Her role as the shallow,
restless wife creates the tension of the picture, making the audience feel pain
when Sam returns to her after her failed affairs. Giving one of the finest
performances on screen for the year 1936, and what she would say was her
favorite and finest performance ever, it is amazing she did not receive an
Academy Award nomination for best actress.
In a supporting role Mary Astor makes for the most interesting notes to
the film. Her role as Edith is a sweet performance as she plays a divorcee who
understands the pains of Dodsworth and helps him heal of his wounds while
slowly realizing that she is in love with him and must make him realized he is
too in love with her. Astor was in fact going through a very nasty and very
public divorce at the time of the picture. This perhaps enhanced her
performance and how audiences at the time thought of her in the picture. Her
divorce, despite her great performance in Dodsworth,
would slow down her acting career, but only for a short time, as great roles
started to appear again for her within a year.
Dodsworth would only make a
modest profit in theaters, but would get good reviews from critics. Many
critics seemed to find the picture admirable, but not one of the years elite,
but in further review of all of what the critics had to say one would come the
realization that in fact Dodsworth
was one of the finest films of the year, but due to the lack of flash or major
stars it was not given its proper respect at initial release. When awards
season would come around Dodsworth
would be one the greater nominated pictures of the year, including seven
Academy Award nominations (best picture, best actor, best director, best
supporting actress [for Maria Ouspenskaya, in her short role as the Baron's very strict mother], best sound, best screenplay), while winning for best art
direction and being noted as one of the top films by many other critics and
associations for 1937. In time it would be honored as one of the very best in
American cinema with the 2005 election into the National Film Registry.
It is one of those pictures that come on so innocently, but wow you
with it amazing under spoken power. Dodsworth
is simply a great picture and should be discovered and enjoyed by contemporary
audiences who have never acquainted themselves with movies of the 1930s. It
would mark the beginning of an era for director William Wyler, a noteworthy
performance by a member of the fames Huston family, and simply one of the very
best for 1936.
Comments
Post a Comment