Melodrama Screening and Discussion, 29th of January, Keynes Seminar Room 6, 4-7pm

Posted by Sarah

All are welcome to attend the second of this term’s screening and discussion sessions which will take place on the 29th of January in Keynes Seminar Room 6, from 4pm to 7pm.

We will be screening The Wicked Lady (1945, Leslie Arliss, 104 mins).

wicked Lady poster

 

Kat has very kindly provided the following introduction:

The Wicked Lady is a 1945 film starring Margaret Lockwood and James Mason. Known as one of the Gainsborough melodramas, it is reputed to have one of the largest audiences of its period, 18.4 million. The story itself was based on the novel, The Life and Death of the Wicked Lady Skelton by Magdalen King-Hall, which in turn, was based upon the (disputed) events surrounding the life of Lady Katherine Ferrers.

Synopsis

Margaret Lockwood stars as 17th century beauty, Barbara Worth, who steals and marries her best friend’s intended bridegroom, local magistrate Sir Ralph Skelton. At their wedding reception, Barbara meets Kit Locksby. For both, it is love at first sight, but too late as Barbara is now married. As Lady Skelton, she soon bores of rural life and seizes the opportunity to become a highwayman in order to win back her jewels from her sister-in-law, Lady Henrietta Kingsclere. Addicted to the excitement, Lady Skelton continues in her escapades and meets and joins forces (personally and professionally) with fellow highwayman, Capt Jackson. Through murder, robbery and betrayal, Lady Skelton’s double life catches her with her and she is mortally wounded by Kit Locksby. Dying, she confesses all to Kit and asks him to stay with her as she dies. However, appalled and repulsed by the truth, he withdraws, leaving her to die alone.

Lockwood Roc Wicked LadyIt is reported that due to issues with the American censors, extensive re-shooting was required before the film was released in the United States. The problems concerned the women’s dress bodices, which were considered low-cut and allowed too much cleavage to be displayed, and therefore unable to meet the requirements of the Hays Code.

 

The Gainsborough Melodramas

Despite producing a variety of genre films throughout its twenty-five year existence, the Gainsborough studio became synonymous with melodramas, in much the same way as Ealing studios did with comedies. The Gainsborough melodramas were a sequence of films produced by the British film studio Gainsborough Pictures during the 1940s. This cycle of films often touched upon similar themes and frequently starred recurring actors who played similar characters in each film, such as Stewart Granger, Phyllis Calvert, Margaret Lockwood and James Mason.

The first film of the cycle, The Man in Grey, appeared in 1943. Starring both James Mason and Margaret Lockwood, it was based upon the novel of the same name. Its success led to a number of similar films being produced, often based upon on melodramatic period novels, such as, The Wicked Lady (1945), Fanny by Gaslight (1944) and A Place of One’s Own (1945). The films dominated the British box office, grossing top Hollywood productions in the UK. It has been argued that much of their appeal was in their overt escapism at a time when the Second World War was still being fought. However, the popularity of the cycle peaked in the immediate post-war years and the production of the melodramas continued until 1950. At the height of the melodramas’ popularity, both James Mason and Margaret Lockwood were respectively voted the most popular British male and female actors.

Mason Lockwood Wicked Lady

 

Focusing on the handful of period costumes romances produced by Gainsborough at this time, Pam Cook argues that although these films were rediscovered in the 1980s by film historians, the films remain largely ‘marginalised, ignored or subsumed into the consensus in discussion of national identity in British cinema’ (Cook, 1996). Even at the time of its release, Cook notes derision in some quarters. Simon Harcourt-Smith writing in Tribune said of the film, ‘…if the future of the British film industry hangs…on the success of The Wicked Lady, then let us dispense with that future.’ (Aspinall and Murphy, 1983, p74). Cook suggests that this critical neglect is due to how the costume and visual style, the representation of history and their mobilization of national identity contravened official strictures and versions of femininity.  Furthermore, Cook argues that costume romances are at the less reputable end of the historical film genre. Where ‘heritage’ historical films would celebrate the past, costume romances such as the those produced by Gainsborough, mobilize a British past of promiscuity, injustice and inequality, ‘a locus of crisis and conflict as well as sensual pleasure’ (Cook, 1996).

Cook also extends the films’ questionable representation of the past extends to costume and mise-en-scene. Sue Harper points out that visual codes in the costume romances have their own language, which often works against the ‘moralistic trajectory of the script’, creating a tension between spectacle and narrative (Harper, 1983: 1994). For Harper, spectacle plays a positive role in costume drama as the carrier of coded meanings which express the powerful status of femininity, overriding the narrative drive to disempower transgressive female protagonists.

As Pam Cook states, ‘Audiences leaving a screening of The Wicked Lady were more likely to remember the stunning image of a fetishized Margaret Lockwood dressed in highwayman gear astride a stallion than to take on board the moral implications of her punishment by death’ (Cook, 1996).

Cook, P. (1996) Fashioning the Nation. London: BFI Publishing.

Harper, S. (1983) ‘Art Direction and Costume Design’, in S. Aspinall and R. Murphy (eds) BFI Dossier 18: Gainsborough Melodrama. London: BFI Publishing, p 40-52

Harper, S. (1994) Picturing the Past: The Rise and Fall of the British Costume Film. London: BFI Publishing.

Do join us, if you can, for some classic British melodrama.

Summary of Discussion on Of Human Bondage

Posted by Sarah

Our first post-screening discussion after the lengthy Summer Break was lively, and encompassed several areas relating to melodrama, this specific film and Bette Davis. It included comment on: Bette Davis’ performance; the film as an adaptation of Somerset Maugham’s novel;  the film’s music; comparison of the female characters; later adaptations of the novel; stars Leslie Howard and Bette Davis’ other work together; Somerset Maugham as a writer.

Unsurprisingly the discussion began with comments on Davis’ tour de force performance. Davis’ ability to convey Mildred Rogers’ attempts to appear more refined through her voice was deemed especially effective. She shifted effortlessly, and at the appropriate moments, between strangulated cockney and strangulated cockney with a slight hint of unconvincing cultivation. This undulating movement was also present in Davis’ physical performance. This was quite exaggerated.  Using gestures and facial expressions liberally, Davis wonderfully conveyed both Mildred’s flirtatious nature and her at times pointedly indifferent attitude to Philip. We especially noted Davis’ use of Of Human Bondage eyesher eyes to express these contradictory aspects of Mildred’s character.  Occasionally Mildred with her head tipped down, steadily and flirtatiously looked up at Philip across the top of her champagne glass (see picture on right).  More often though, she flicked her eyes away from him, either quickly or slowly, to signal her disagreement with him or to reveal that she was mulling over an offer he had made.

Of Human Bondage tiradeDespite the fact that throughout the film Davis employed theatrics, and could hardly be described as restrained, her two big scenes were stunningly effective. In Mildred’s tirade against Philip, which we discussed at length, Davis ratcheted her performance up a gear. There is constant movement in this scene. Both by Davis, who turns to and away from the camera whilst striding away from it,  and by the camera itself which follows Davis at some speed. Extra impetus was added by the fact that the scene was fairly quiet up to this point.  It was also the first time we saw Mildred really furious. This was prompted by Philip’s comment that Mildred disgusts him. This, in turn, was in response to her attempt to seduce him. After repeating Philip’s words with her voice and body shaking with disbelief and anger, the scene reaches its climax as Davis performs a violent gesture. She tells Philip that every time he has kissed her she wiped her mouth. Mildred clearly thinks this is a useful phrase to torment Philip with, and she repeats it, atof human bondage mouth increased volume. Davis also emphasises the point by ferociously rubbing her arm across her heavily lipsticked mouth.  It is notable that while the gesture is arguably one of the film’s most memorable moments, partly due to Davis’ heightened performance, it does not appear in the novel.

What made it unforgettable is that as Mildred is shouting angrily with mad, staring eyes, she is also smiling, or perhaps more correctly, grimacing. She clearly relishes having the opportunity to express her true feelings to Philip. This was compared to other moments in Davis films when her characters’ real self is unleashed, for example In This Our Life (1942, John Huston).

Davis’ other ‘big’ scene revealed more of Mildred’s vindictiveness. This is very possibly even worse than her spontaneous reaction to Philip’s comment as she has had time to consider her actions.  She gleefully rampages through Philip’s apartment, destroying the works of art which mean the most to him, but which she has declared she finds vulgar.The music which accompanies the following scene is revealing. Mildred coolly picks up ‘baby’ from her cot in preparation of them both leaving Philip’s apartment.  There is a ‘frowsy’, almost comedic, quality to the music. While the audience has never entertained the same illusions about Mildred as Philip has, it suggests that after her tirade and the following rampage the film is now signalling through music that her real nature is indeed shabby. It was mentioned that apparently after the first screening of the film, some of its music was changed as it was considered too comedic in places.

Our focus on performance, and in particular specific moments of heighted emotion and gesture was related to some of the discussion we engaged in at our previous screening sessions. Of special interest, and worthy of further consideration, is how these instances are juxtaposed with elements of restraint.

of human bondage novelAs with some of our previous discussions, we spoke about the suffering woman. While the film showcased Davis’ performance, it was perhaps less about Mildred’s suffering than Philip’s.  This is similar to the source novel.  Much of its 700 pages detailed Philip’s childhood, his time spend living abroad, his medical training and his later search for employment. Unsurprisingly the 83 minute film dispensed with much of the novel’s plot. The fact it chose to focus on Philip and Mildred as its main characters was testament to the pernicious effect Mildred had on Philip and clearly related to Hollywood’s privileging of the romantic couple.

of human bondage kay johnsonPhilip’s other romantic relationships Of Human Bondage Frances dee(with Norah, played by Kay Johnson, left, and Sally, played by Frances Dee, right) were given little screen time, not really enough to compete with Mildred’s central position. The female characters and performances other than Mildred/Davis were very restrained.  Other characters (such as Dr Jacobs, the medical student Griffiths and especially the flamboyant Athelny) were sketched more broadly. We thought these characterisations probably lacked depth because they were given very little time to make their impression. It is perhaps also telling that these are all played by male actors – Desmond Roberts, Reginald Denny and Reginald Owen respectively. While the performance styles differ to the lesser female characters, they also supply contrast to Davis and Howard’s more nuanced portrayals.

Some of the film’s more avant garde touches were also discussed. We noted the straight-to-camera acting of Davis and Howard in particular, during which eyelines did not match and the 180 degree rule was violated. The film’s ending which shows Philip and Sally crossing a busy street was deemed particularly odd. We presume that Philip is telling Sally of Mildred’s death, and the fact he is now free, but the unnecessarily loud traffic noise drowns out the dialogue. There did not seem to be any real reason for this, especially as we had already seen Davis at her most unglamorous as the dying Mildred was collected from her room and taken to hospital.

There was also a dreamlike quality to much of the film, not just during the projection of of Human Bondage dreamPhilip’s dreams. The latter afforded a greater opportunity for Davis to display her acting skills as in these Mildred is far more responsive to Philip, especially facially. In his dreams Philip imagines Mildred speaking with Received Pronunciation. As the ‘real’ Mildred, Davis shows Mildred’s doomed attempts to achieve this accent. This is revealing of Philip’s prejudices and it is also notable that in the dream sequences his physical disability has disappeared. This split between reality and dream also effectively highlights the unusual  social realism of the film and Hollywood’s usual focus on the glamour of coupledom and romance.

Of Human Bondage Henreid ParkerWe wondered about later versions of the story. In 1946 Paul Henreid (Davis’ co-star in Now Voyager 1942 and Deception 1946) and Eleanor Parker starred in a Hollywood remake directed by Edmund Goulding (who often collaborated with Davis).  Kim Novak and Laurence Harvey starred in the 1964 UK film (see a clip of Mildred’s death scene: http://www.youtube.com/watch?v=N8iVYV93BYw). Interestingly this was written by Bryan Forbes and partly directed by him (uncredited) alongside the UK’s Ken Hughes and Hollywood’s Henry Hathaway. Forbes is known for his kitchen sink drama The L Shaped Room in 1962.

This highlights further melodrama and British social realism’s connections, mentioned in last term’s discussion on Love on the Dole (1941).

TV adaptations were made in a 1949 episode of Studio One starring Charlton Heston and Felicia Montealegre (watch the whole episode here:http://www.youtube.com/watch?v=klGfU5VKGAc)  and as part of  Somerset Maugham TV Theatre  in 1952.  Cloris Leachman appeared as Mildred.

PetrifiedWe also discussed Howard and Davis’ other films together. They appeared in The Petrified Forest (1936) and It’s Love I’m After (1937) – both directed by Archie Mayo.  While the former could also be described as a melodrama, a gangster melodrama, the latter is a light romantic comedy in which Howard and Davis play a bickering couple. Performance is central to this film too, however as their characters are actors. (Do take a quick look on www.youtube.com for clips and trailers.)

Discussion ended with brief mention of the critical evaluation of Maugham as a novelist. MaughamHe is considered by some to be trashy, and this complements Mildred’s character in Of Human Bondage. Unusually for a male author can be considered middlebrow. We will look into this more next week when we screen Rain (1932) which is a screen translation of his 1921 short story.

Many thanks to Ann-Marie for choosing such a wonderful film which certainly gave us plenty to chew over…

As ever, do log in to comment, or email me on sp458@kent.ac.uk to add your thoughts.