THE HEIRESS

This 1949 film, set in nineteenth century New York and directed by William Wyler, is an adaptation of a play which itself was an adaptation of a Henry James novel, 'Washington Square'.  

I've never read anything by James but my impression is that his writing is complex and rather cold, in which case this film is true to the spirit of the novel, even if the plot has been much condensed and made more direct.  I'm not surprised that it was a commercial failure because it's a bleak and cruel film in many ways, but one of undeniable quality which the critics loved and which led to several major Oscar nominations.

The heiress in question is Catherine (played by Olivia de Haviland, a few years too old for the part), who despite the best education that money can buy is socially gauche and lacking in self-confidence.  The latter is hardly surprising given that her father Dr Stoper (Ralph Richardson) makes it clear that she falls a long way short of the qualities her late mother possessed.  Although it is not explicitly stated I assumed that Catherine's mother died in childbirth, which would partly explain her father's emotionally abusive behaviour to her.

When handsome Morris (Montgomery Clift) starts courting her it's no surprise that Catherine falls for him, hook, line and sinker.  Since Morris has no capital of his own it is understandable that Dr Stoper is suspicious of Morris' motives.  Catherine already has a substantial income of her own, which will be tripled upon her father's death.

After a whirlwind romance Morris proposes to Catherine, at which point Dr Stoper whisks Catherine off to Europe with him for several months in the forlorn hope that this will kill off Catherine's infatuation or Morris' interest.

Up to this point the film was fine without really setting the pulses racing.  But in the second half, starting with Catherine's return, we move into a much higher gear, with a succession of compelling scenes, at the heart of which is poor Catherine, who is put through the proverbial wringer. 

To start with, her father cruelly makes it clear to her that in his eyes her only virtue that might attract a suitor is her money.  At long last the scales fall from Catherine's eyes as she comes to the devastating conclusion that her father, who she had revered and obeyed without question, doesn't love her for who she is.

Then Morris, having arranged for them to elope, has cold feet and disappears from the scene (he goes to California), once Catherine is unwise enough to tell him that she is now likely to be disinherited.

When Dr Stoper announces that he has a terminal lung disease, there's a brutal scene in which Catherine not only displays no sympathy but angrily tries to make him write a new will there and then so as to disinherit her, which he declines to do.  To emphasise her transformation from the loving daughter she once was, she makes no effort at a reconciliation with her father before he dies.   

Then it's fast forward a few years, as we head for the bleakest of endings.

Morris is back, still penniless, and he hopes to resuscitate his relationship with Catherine.  She is now however a cold distant figure, way beyond his reach.  The film concludes with her leading Morris on before having the door literally slammed in his face, a suitably heartless way to finish.  After all, as Catherine says at one point, "yes, I can be very cruel. I have been taught by masters."

The other important character is Catherine's aunt, who lives with Catherine and her father, nicely played by the great Miriam Hopkins.  She also doubts Morris' motives but still thinks he might make Catherine happy.  Her reaction when she learns that Catherine has foolishly told Morris of her estrangement from her father is a telling little moment - she is wise enough to realise that this might cause Morris to walk away from the marriage, as indeed he does.

Everything about the film is first-class including the cinematography, the attention to period detail, and the score by Aaron Copland.  But ultimately the film belongs to De Haviland who rightly won an Oscar for her unforgettable performance as a timid young woman under her father's thumb who then is turned by fate into a bitter and cruel older woman.  

RATING: ✓✓✓ Absolutely Fabulous