The Heiress (1949)

An Additional Wrinkle

I've enjoyed reading the many insightful reviews offered here about The Heiress.

However, one aspect that I have not seen explored here, and one that has occurred to me after more than one viewing of the film is the prospect that Catherine's father's rejection of her is fueled by his misdirected anger at her for the loss of her mother. Apparently, her mother died in childbirth. As Dr. Sloper points out to his sister at the party given to celebrate her daughter's engagement (referring to the dazzling creature represented by his deceased wife) "This is what I lost....and this....(pointing to Catherine) is what I got in return. It could be that no matter how Catherine evolved, it would never be good enough for her father because he harbors such animosity toward her for taking away his beloved wife. And since unresolved anger often begets more anger, he reaps his rewards, so to speak, in Catherine's final rejection of him.

The Heiress is an extremely complex movie. I have heard the transition made by Catherine, played by Olivia DeHavilland, described in these reviews as (1) her turning into a bitter woman, (2) a wise woman, (3) a woman more in control of her life, (4) a suspicious woman, etc. Is she a tragic figure? Does she triumph? Has her experience made her wiser or has it hardened her heart forever, resulting in an inability to trust, even in everyday situations (recall the scene near the end when Maria compliments Catherine on her dress and is rebuffed for her "false compliments").

Catherine's father, played by Sir Ralph Richardson has similarly been described as (1) a scoundrel, (2) an unloving father who robbed Catherine of any self-esteem she might have had (3) hateful and (4) a victim.

Catherine's dad reminds me a great deal of my own father - wounded early in his life by a tragedy, and forever unable to demonstrate love toward another person - including his wife or children. It took many years for me to see him as anything but a scoundrel, but now I understand that he was also a victim. I see Catherine's father in the same way. Unable to cope, emotionally with this child who, as a result of being born, took the life of his wife. To him, his demonstration of any affection toward his daughter would be a betrayal of his wife. This perverted viewpoint robbed both Catherine and her father of a relationship that could have been loving and supportive.

Then, there is Morris - seemingly a mercenary opportunist, described aptly by Catherine's father as a fortune hunter...would he have abandoned Catherine once he had accesss to her money, thus breaking her heart? Or, as Catherine argues to her father, "Since you didn't love me, at least you could have allowed someone else to try." Of course, given her father's jaundiced viewpoint of her, he could not imagine that anyone worthwhile would be interested in Catherine for any other reason than her money.

Obviously, as in real life situations, there is a complexity that makes all of these assertions true to some extent. This movie is so great because besides the excellent acting on the part of the four major characters, it presents them without attempting to judge them or remove the ambiguity and depth that they present.



August 26, 2008

"You have found a tongue at last, Catherine!"

I've seen more than a fair share of revenge movies, American and foreign, from variants of "The Count of Monte Cristo" to "Kill Bill" and hundreds in between. None has altered my opinion that "The Heiress" is the best of them all. Olivia de Havilland and Montgomery Clift-that alone is reason enough to see this. But if it isn't, just read some of the reviews here and on other Internet sites. It's called a classic for one simple reason-it's an excellent film.

No doubt that the ensemble in "The Heiress" was a stroke of luck or genius. Sir Ralph Richardson as Dr. Austin Sloper, with his perfect diction, embodies the Old New York patriarch-cold, stern, and overbearing. Montgomery Clift, as the codger Morris Townsend, is devilishly handsome and irresistibly flirtatious as he sweeps Catherine Sloper off her feet, until he's revealed for what he truly is. Miriam Hopkins, as the busybody Aunt Lavinia Penniman, projects the compassion borne of knowing what it's like to be lonely. As outstanding as they all were, and as unerring and meticulous as William Wyler's direction was, this film belonged to Olivia de Havilland. As Catherine Sloper, first meek, socially inept and cowering under her beastly father's rule, her transformation to a steely, wronged woman is flawless and heartbreaking. Blessed with an excellent script, a compelling story, and a brilliant cast, "The Heiress" is a jewel.

Some of my youthful imaginings were fuelled by Henry James and Edith Wharton books, and although my youth is long gone, my admiration endures. "Washington Square" is timeless and remains one of James' best realist fictions, and this adaptation is the finest James on film, no disrespect intended to the Merchant-Ivory productions. Buy it, rent it, borrow it, and see for yourself how a reel of celluloid can still engender praise sixty years later. June 24, 2008

empowerment, 1940s style

'the heiress', though not as enlightened as agneizka holland's 'washington square' is the far more superior film.

olivia de havilland towers over jennifer jason leigh as catherine sloper. her catherine does show that she has wit and brains, even while she is desperate for love and attention from her impervious father austin sloper. she is brought to life in her love for morris townsend and it is like watching a bud burst and flower.

richardson's father is cold and implacable, pathetic and frustrated when he realizes his life is coming an end, pitiable when his daughter withholds any affection from him. albert finney, in this role, is just mean and frustated no matter what the situation is.

as the merry-widow aunt lavinia, miriam hopkins is comic relief from the heavy parts of the plot; maggie smith is eccentricly risble in this role. perhaps the one point which matches in each version is morris townsend. wyler and holland each cast handsome men as the oppurtunistic lover who hopes to marry shy catherine for her money. no complaints for either version when you have montgomery clift or ben chaplin.

maybe why i prefer 'the heiress' is because it maintains a grand, operatic flavor while 'washington square' tries to make this story rather ordinary and holland's vision of catherine's final victory over the men who have tyrannized her is dulled. in 'the heiress' wyler gives a viewer the opportunity to enjoy this victory. de havilland was never more powerful than in the final half hour of the film as she goes from scorned and bitter to transcendent when she exacts sweet revenge on a truly desperate morris. June 5, 2008

The Heiress

The Heiress (Universal Cinema Classics)
This is a magnificent film with superb performances by Olivia deHavilland, Ralph Richardson, Montgomery Cliff , Miriam Hopkins and the music by Copland very effective. The plot comes from the Henry James story and he was a master at character delineating and all of the subtle shades of conflict within individuals. The film, acting, directing by Wm Wyler are all superb, the liner notes on the back are quite wrong about Dr. Sloper--he is not malevolent but a much more complex character than that. That is not a criticism of the film but the silly person who wrote the liner notes.In short: it is a great film. January 28, 2008

Best movie ever!

A real piece of art from the gold era of hollywood when actresses and actors really did act and earned to be call 'Stars' Olivia de Havilland delivers an amazing performance that captures your heart and makes you enjoy the unexpected ending. December 10, 2007

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