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Ethel Barrymore in “The Spiral Staircase”

The Spiral Staircase (1946) is a tense post-WWII thriller that manages to both thrill and also explore the results of the belief that some people are stronger or better than others.

Post-WWII people were appalled at the widespread eugenics practiced by Nazis, culminating in the nearly unimaginable horror of the Holocaust. What made it so unsettling, however, is that such beliefs in eugenics had been embraced, though less aggressively, by many other countries and people. For me, Ethel Barrymore’s character embodies this position perfectly in The Spiral Staircase.

The story is an old dark house thriller. Someone is murdering women with disabilities in a small town set in the early 1900s (when cars and horses briefly shared the road). Helen (Dorothy McGuire), is a servant at the Warren mansion, on the outskirts of town, who has been unable to speak ever since witnessing her parents burned alive in their home (PTSD was another concern for post-WWII audiences). Everyone is concerned that she will be the next target and insists she stay safely inside the house. Except that the killer turns out to be one of the people inside the house.

It’s a stormy night, people come and go, but eventually it seems as if one-by-one the killer is neutralizing everyone until there is only Helen and the killer.

Ethel Barrymore plays Mrs. Warren, the owner of the house. She is the second wife of the now deceased Mr. Warren, a dynamic man’s man who despised weakness and only admired strength: physical endurance, the ability to hunt and shoot, etc. Mrs. Warren lives in the house with her step-son (George Brent) and her own son (Gordon Oliver), but agrees with her late husband that they are both “weaklings.”

She herself is a dynamic character, though now bedridden and with her mind wondering. But she remains fixed on one idea the entire night: the need to get Helen out of the house or to hide Helen, because she knows that the evil is within the house, not outside it, as everyone else supposes.

(Spoilers) I think what I admire about Ethel Barrymore’s performance is that she really doesn’t try to make her character sympathetic, though she does want to save (and ultimately does save) Helen. She’s wily and cunning, demanding, querulous and openly disdainful of people she despises. She also share’s her late husband’s views about strength and weakness, though she would never take it so far as to actually murder anyone. She is even appalled by murder.

Ethel Barrymore and Dorothy McGuire

But she’s also complicit in the crimes. She believed the murderer was her son (as opposed to her step-son) and could not bring herself to denounce him. As a result, the murders went on. She only finally musters the strength of will to shoot (somewhat like you shoot a mad dog) the killer when she realizes that it is not her son.

(End Spoilers)  The the sheer power of Ethel Barrymore’s personality suggests what Mr. Warren must have been like…and what it would have been like to live in a house with two such people.

Power, I think, is the word for Ethel Barrymore in the film. In fact, it’s hard to imagine a man being stronger-willed then her…though her character clearly idealizes the late Mr. Warren as a man of power. But despite being bed ridden and with a wondering mind, she can suggest what Mrs. Warren would have been like when well. And one can see how her step-son and son might have been warped by it.

This post is part of “The Third Annual Barrymore Blogathon,” hosted by In The Good Old Days of Classic Hollywood. The rest of the posts about the three Barrymore’s can be found here.

 
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Posted by on August 17, 2017 in Movies

 

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Dark Victory (1939)

Dark_movieposterI have had Dark Victory sitting on my shelf for a long time and I have steadfastly resisted watching it. It’s a story about a woman who dies of cancer and since my own mother died of cancer, I thought I’d never have the heart to sit through it all. But last week I must have been feeling reckless (or morbid), because I voluntarily and spontaneous decided to watch it, fully prepared to drown in an ocean of tears.

But the oddest thing happened. I didn’t actually cry and I think it’s because the film bears absolutely no resemblance to my own experiences. It is a pure Hollywood fantasy of disease and death….which isn’t necessarily a bad thing. I don’t need a movie to teach me about grief. Movies either touch me on the raw (and they are only able to do so because I’ve already experience something) or they touch me in a more abstract, cerebral, certainly emotional, but not tangible fashion. Dark Victory was definitely in the latter category. I admired Bette Davis, enjoyed the drama, felt sad by the ending, was frustrated by the character’s decisions and generally was able to enjoy it like I would any other movie.

Judith Traherne (Bette Davis) is a reckless and willful heiress who parties all night and has a huge collection of relatively useless friends, including Alec Hamm (Ronald Reagan, in a thankless role), though her loyal secretory, Ann King (Geraldine Fitzgerald in her first American film) is more like a sister to her and genuinely tries to look out for her interest. But Judith’s doctor is worried about her. Dr. Parsons (Henry Travers) knows something is wrong, though Judith refuses to tell him her symptoms or see another doctor. The symptoms include trouble with her vision, numbness in her left arm and hand, terrible headaches and an inability to concentrate.

Dr. Parson finally does get her to see a specialist, however. Brain surgeon Frederick Steele (George Brent) diagnoses a brain tumor almost immediately, though he consults with a few other doctors before telling her that they need to operate. The operation is a success, clearing up all her symptoms, but the doctors learn that the operation was only a reprieve. Judith only has at most ten months to live. There will be no symptoms (?!), she will appear perfectly fine until she loses her eyesight, at which point the end will only be a few hours away.

Annex - Davis, Bette (Dark Victory)_11But Dr. Steele, Dr, Parsons and Ann elect not to tell Judith, feeling that she would be happier if she didn’t know (this is apparently rather European, where my piano teacher told me that it used to be quite routine for the family to choose not to tell a loved one that they were dying – the topic came up when we were discussing Rachmaninoff and I expressed surprise that his family should keep it from him that he had cancer, though eventually it becomes rather obvious to the patient that something is wrong – though this was in the days when there was really nothing that could be done). Judith is beside herself with gratitude for Dr. Steele and is falling in love with him, while Dr. Steele returns her affections. Should he tell her? And then things go haywire when Judith finds out that he and Ann lied to her about being cured and goes on a giant, months long bender.

One thing that interested me was Bette Davis’ performance. I am used to thinking of her as playing rather strong-willed women, but as Judith Traherne she plays her with a more childlike innocence, especially opposite George Brent’s Dr. Steele. She mentions that her father drank himself to death and that her mother lives in Paris and so there is a rather fatherly aspect to Dr. Steele’s love of her and her reaction to him. It begins when they first meet in his office. She is scared stiff and wildly resistant to his attempts to question her about her health. But as he gains her confidence, she suddenly relaxes, as if for the first time completely trusting someone else to take care of her. She plays Judith with wide-eyed, abandoned youthfulness that somehow isn’t really jaded yet, but also like a scared animal, shying away from kindness, who can’t quite fathom her fate.

Barbara Stanwyck evidently badly wanted the role or Judith Traherne and even performed the role for Lux Radio Theater, but because she was not associated with any studio, the role went to Bette Davis at Warner Bros. I wonder what her take on the character would have been. She can do many things, but I’m not sure childlike innocence is one of them. I am sure it would have been a good performance, but definitely different.

Stills-dark-victory-18866479-1699-2112Also in Dark Victory is, of all people, Humphrey Bogart. 1939 was a strange and busy year for Bogart. He played a mobster in The Roaring Twenties, an outlaw in the western (!) Oklahoma Kid with James Cagney, a convict in the prison drama The Invisible Stripes, another mobster in You Can’t Get Away With Murder with the Dead End Kids, a bloodless, undead  zombie scientist with a white streak in his hair and a rabbit to stroke in the very B The Return of Dr. X, yet another gangster in King of the Underworld and an impertinent, lusty Irish stable-hand in Dark Victory with an unconvincing Irish brogue-like accent. Bogart must have been very glad to finally be done with the 1930s.

George Brent and Geraldine Fitzgerald are quite good, but Dark Victory is all Bette Davis vehicle with her nobly going off alone to die. It’s actually a bit frustrating. After all, she is taking the choice away from those who love her who would want to be with her. But in the context of the story, it kind of makes sense. She acts so young and dependent on others, it is important to her, at the end, to do this on her own. Finally, to bravely face something on her own.

As a side note, isn’t it odd the kinds of movies that move one emotionally? It can be so unpredictable. A movie like Dark Victory will leave me unmoved and than I’ll bawl at the end of The Amazing Spider-Man 2. Cheesy stuff, random stuff, who knows what will affect one next! I never know. Do you?

 
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Posted by on March 21, 2016 in Movies

 

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The Spiral Staircase (1946)

spiral staircaseThe Spiral Staircase is exactly my definition of a well done mystery/thriller. Actually, it is often described as a psychological thriller. It’s very post WWII in its concerns: the strong preying on the weak (disabled) and issues of shock and post traumatic stress. Most of the story occurs inside a large home with a shadowy wine cellar that has passages and doors, there is a rainstorm outside, and a diverse assemblage of people in the house who are, one by one, removed from the scene until there is only the killer and the victim.

The story occurs in the early 1900s when there were still carriages and cars on the roads. There is a silent movie being shown in a ground floor room in the local hotel, while upstairs a girl is murdered (there is a rather alarming moment when she opens up her closet and we realize that there is somebody hiding behind her clothes, watching her. It’s almost enough to make you not want to ever open your closet again). It is the next in a series of murders, all women, who have a disability of some kind. One woman was lame and another was mentally handicapped.

At the hotel during the murder is Helen (Dorothy McGuire), who works as a maid for the very wealthy and ill Mrs. Warren, and people are concerned that since she is mute she will be the next victim. She makes it home without incident, however, though someone does appear to be watching her.

The home belongs to Mrs. Warren (Ethel Barrymore) who is very ill and hates her much-put-upon nurse (Sara Allgood) and greatly prefers Helen, who once studied to be a nurse. However, it seems that Helen has now given up this intention, somewhat to the disapproval of the new doctor in town, Dr. Parry (Kent Hunt), who likes Helen and wants to help her speak again. He believes that her inability to speak is owing to the shock of seeing her parents burned alive in their home when she was a young child and wants to take her to Boston with him to see of they can help her.

Ethel Barrymore and Dorothy McGuire

Ethel Barrymore and Dorothy McGuire

Also in the house is Professor Albert Warren (George Brent), who is Mrs. Warren’s step-son, Blanche (Rhonda Fleming), his secretary, and Mrs. Warren’s son, Steven (Gordon Oliver). The servants are comprised of Helen, and Mr. and Mrs. Oates (Rhys Williams and Elsa Lanchester – always a delight to see).  Also, Dr. Parry is in the house to see how Mrs. Warren is doing and to talk to Helen about coming to Boston with him.

Repeatedly, during the evening, Mrs. Warren tries to warn Helen to leave the house. She is not well and her thoughts seem to wander a lot, so Helen does not know exactly what to make of her wild warnings. However, Dr. Parry is concerned and agrees that he should take Helen to stay with his mother. Before he can do so, however, he is called to visit another person who is unwell.

Meanwhile, the housekeeper, Mrs. Oats, is getting drunk, the nurse is getting fed up and the two step-brothers – Albert and Steven – don’t like each other, but both like Blanche. People begin to leave the house in various ways, the rain continues outside, Mrs. Warren continues to warn Helen, and finally, the killer is after Helen.

In an era when most movies are at least two hours, I really appreciate watching a film that is 90 minutes or less. There is something very satisfying about brevity, no wasted scenes, everything intricately part of the story. The Spiral Staircase is 83 minutes and flies by, all taking place in one evening, almost entirely in the house.

Dorothy McGuire, George Brent The Spiral Staircase (1945)

George Brent and Dorothy McGuire

Dorothy McGuire received wonderful reviews on her performance when the movie was first released, and deservedly so. Because she cannot speak, she must convey everything through her expression and body language. She is also no helpless woman in distress, which I found refreshing. She never goes into hysterics, she keeps moving and trying new things when it is clear who is trying to kill her, looking for the gun she knows Mrs. Warren had, trying to attract the attention of the sheriff.

Ethel Barrymore plays the bedridden Mrs. Warren whose mind seems to be wandering and yet alarmingly fixed on one thing with great clarity. She is the second wife of Mr. Warren, who evidently died many years before. She seems to have worshipped him, a man who believed in strength (he was an excellent shot and hunted and so on) and despised his sons as weaklings. It actually seems to be through the dead Mr. Warren that the twisted thinking that the strong are more fit to live has entered the house. And Mrs. Warren knows it. She likes Helen and repeatedly tries to get her out of the house, but it is through her passivity that the murderer is free to operate. Really, she would have let Helen die if it hadn’t been that she discovered she was wrong about who the murderer was. All disturbing concepts to contemplate.

Many people have commented on how very Hitchcockian the film is and when I think good, old-fashioned mystery/thrillers, old country-house murders, old dark house, black and white films with shadows and unique camera perspectives, this is the kind of movie I would have imagined being made. It’s quintessential.

 
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Posted by on November 4, 2014 in Movies

 

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