Titanic (1953)

With the 100th anniversary of the sinking of the Titanic rapidly approaching, I wanted to take the opportunity to revisit the history of that unfathomable disaster and some of the films inspired by it. Particularly the "other" Titanic films, beginning with the 1953 classic Titanic starring Barbara Stanwyck and Clifton Webb. While this film lacks the gloss, spectacle, and budget of its more famous 1997 counterpart, actually I prefer it. Yes, it lacks the more impressive special effects and spectacle of the James Cameron film, and one can take issue with various historical liberties (particularly common in Hollywood's "Golden Age"). But I think at least one of the many reasons a general public fascination with the Titanic has endured is that it is in many ways a cross-section of humanity. On that ill-fated liner were some of the richest and most privileged individuals in the world (i.e. John Jacob Astor) alongside the poorest of immigrants, and in the face of that iceberg all men and women were equalized. And that is the greatest strength of this 1953 classic -- bringing a human face to the tragedy.

At the centerpiece of this film (which won an Oscar for Best Original Screenplay) is the strained relationship between Julia Sturges (Barbara Stanwyck) and her husband Richard (Clifton Webb). As the film opens Julia is fleeing her society-obsessed husband with her two children, Annette (Audrey Dalton) and Norman (Harper Carter) for a more humble, grounded life in her home state of Michigan. She almost makes a clean "getaway," if you will, but Richard foils her plans by purchasing a steerage passenger's ticket and coming aboard. Webb and Stanwyck are two of classic Hollywood's brightest stars, and they positively shine in their roles as the estranged couple. The tension and genuine sense of heartbreak in their scenes -- particularly evident in Stanwyck's expressions (Webb is much more stoic), as she throws herself whole-heartedly into the role of Julia -- is practically palpable. The emotion and the history and the heart-wrenching sense of lost opportunity between these two characters makes their road toward the film's inevitable conclusion -- the sinking -- that much more wrenching, driving home the human toll of the tragedy in a brilliant, heartfelt fashion.

There's a youthful love story here as well, one that crosses class boundaries and foreshadows the changing and loosening societal standards and norms of the still-young 20th-century. Annette Sturges is a daughter of privileged, raised (in particular by her father) with an eye to making a brilliant marriage. In only his tenth film appearance, a very youthful Robert Wagner plays the very middle-class Gifford Rogers, a Purdue student who determines to pursue an acquaintance with the lovely Annette despite her initial disdain of his distinct lack of antecedents. Their budding romance is a joy to watch, principally because one cannot help but like the energetic and determined Giff. And while some may argue Giff's eventual survival is contrived (he falls from the Titanic while attempting to cut a lifeboat free & is subsequently rescued), personally I like the fact that the sweet Giff and Annette romance has a chance of surviving post-sinking.

One of the biggest sticking points between Julia and Richard is her view of his general uselessness outside of transient social obligations. The biggest blow to Richard prior to the sinking isn't the dissolution of his marriage -- it's the discovery that his beloved son, the "prize" who will carry on his name, is actually the product of an affair. Norman idolizes his father, and seeing Richard shut the child is an extraordinarily painful moment. However, when it becomes clear that the ship is going down and that many will not survive thanks to an appalling lack of lifeboats, Richard steps up in an extraodinary fashion. In large part the reason this film works so well for me is the character of Richard and his actions during the ship's final moments. Watching Richard realize that family, not social trappings, are the only things that matter is just one way in which this film serves as a powerful reminder of the best that humanity is capable of in the worst of times. And I defy you not to shed a tear during Richard and Norman's final moments. That, people, is why Clifton Webb is a classic.

I can't go without mentioning Thelma Ritter's performance as Maude Young, her character one of the nouveau riche who is Margaret Brown (the "unsinkable Molly Brown") in all but name. Her no-nonsense, unflappable attitude towards, well, everything and everyone is an absolute joy to watch. She takes a particular interest in George Healey (Richard Baseheart) a former priest suspended for his reliance on alcohol. Healey is an absolutely heart-breaking character, completely lost and without purpose until during the sinking he resolves to try and rescue crewmen trapped in the engine room. Both Healey and Richard become unexpectedly heroic during the sinking, providing two of the film's best performances.

Clocking in at a relatively short ninety-eight minutes, Titanic is a well-paced, smartly executed film that holds up extraordinarily well over fifty years after its release. This is not a big, glossy epic by today's standards -- and even by the standards of Hollywood's classic era this film feels remarkably understated. By focusing on the Sturges and a handful of other passengers for the first half of the film, this becomes a remarkably intimate viewing experience -- so by the time of the collison and sinking, we as viewers are well-invested in the lives of this handful of players caught up in a horror beyond their imagination.

I found this quote by Stanwyck, on filming the scenes where the lucky passengers to acquire spots in lifeboats flee the doomed liner --

"It was bitter cold. I was 47 feet up in the air in a lifeboat...the water below was agitated. We were re-creating an actual tragedy and I burst into tears. I shook with great racking sobs and couldn't stop."

That sense of responsibility, if you will, towards the material and the history is glaringly apparent in Stanwyck's performance. Leaving the lifeboat this is a woman eviscerated. It is a brilliant showcase for Stanwyck's considerable acting talent and a testimony to the enduring power of a little film with a lot of heart. Worthwhile viewing, especially as we approach the 100th anniversary of that infamous weekend in April that saw the loss of so many lives.

Summer of Hitchcock: Rear Window

Spoilers…

Rear Window is not only one of my favorite Hitchcock films, it’s one of my favorite films, period. It’s also the third film up for discussion in My Friend Amy’s Summer of Hitchcock. A bit about the story…

James Stewart plays magazine photographer L.B. “Jeff” Jeffries, sidelined to a wheelchair for several long, boring, HOT weeks thanks to a broken leg. Out of sheer boredom, he takes to “observing” his neighbors, getting to know them through the glimpses of their lives afforded through their apartment windows. His high society girlfriend Lisa (Grace Kelly), best friend police detective Thomas Doyle (Wendell Corey), and nurse/physical therapist Stella (Thelma Ritter) are all exasperated with his voyeuristic pastime. All that changes when Jeff discovers that the nagging, invalid wife of a salesman living across the way has suddenly disappeared. The more Jeff sees, the more he becomes convinced that he’s discovered a murder – but how can he possibly prove it from the solitary, limited vantage point of his living room window?

I have a very distinct memory of the first time I watched Rear Window – AMC aired the film 2 or 3 times after it was remastered several years ago (perhaps around 2000?). I was sitting on my parents’ sofa and I watched the film all the way through twice in a row. I was thoroughly absorbed by the story and fascinated by the sheer amount of storytelling and information that Hitchcock crammed into each frame of film. The first time I watched the movie, you focus on Jeff, Lisa, and the murder. The second time, though, I allowed myself to focus on each of the “mini movies” playing out in the apartment windows within Jeff’s view. Those little “slice of life” vignettes are one of my favorite aspects of the film. I especially love how “Ms. Lonelyhearts” goes through some wrenching experiences but eventually finds happiness with the Songwriter. It’s the romantic in me, I know. :)

I love, love, love James Stewart and Grace Kelly in this film. Their chemistry is – surprisingly – off the charts. Their banter as they work through their relationship issues, over Jeff’s penchant for traveling and dangerous jobs, her image as a “fragile” high society flower, is both hilarious and tons of fun to watch. Stewart is absolutely fantastic in this picture. He’s a lot edgier than what you get in his sweeter (I need a better word, only one I can come up with at the moment), more “wholesome,” all-American roles (think Harvey or Mr. Hobbs Takes a Vacation). Grace Kelly is absolutely terrific as Stewart’s foil. Her looks and poise make it abundantly clear that she was born to privilege, but she balances that out with a ton of humor and outright spunk. I love how she refuses to give up on Jeff and she’s more than game for the challenge of catching the bad guy, and so much the better if she gets it through Jeff’s thick head that she’s more than just fancy society window-dressing.

The supporting cast is tremendous, particularly Thelma Ritter as Stella. She’s funny, sarcastic, and completely fearless when it comes to speaking her mind. I also enjoy seeing Wendell Corey make an appearance as Jeff’s friend Thomas – he is always a solid character actor, and he gets extra points for appearing in another one of my favorite films, Holiday Affair. Perhaps the biggest casting shock is Raymond Burr as the villain, Lars Thorwald. It’s quite jarring to realize that the man playing this cold-blooded, creepy killer is best known as the paragon of justice & virtue that is Perry Mason. Underrated actor, no?

I’m so glad for the excuse to view Rear Window again and blog about it. Grace Kelly embodies all the wit, charm, and sophistication you could wish for – with backbone to boot! – and James Stewart is funny, humorous, and endearing as our scruffy voyeur. I do wonder, though, what Hitchcock would think of society today. Rear Window still provides food for thought on society’s penchant for voyeurism, how far is too far, etc. With the explosion of the 24-hour news cycle, growing penchant for a “cult of celebrity,” and social networking on the internet, voyeurism has come a long way since 1954. Or is it more accurate to say that the more things change, the more things stay the same – people and their motives haven’t changed, just the voyeuristic methods? All that aside, the one thing Rear Window guarantees is a thoroughly absorbing, fascinating viewing experience. It's a movie I never get tired of watching. The movie is available in single disc and double disc DVD editions (I recommend the latter, the 2nd disc is loaded with tons of special features).