In the mid-1800's, the wealthy Sloper family - widowed surgeon Dr. Austin Sloper, his adult daughter Catherine Sloper (Dr. Sloper's only surviving child), and Dr. Sloper's recently widowed sister Lavinia Penniman - live in an opulent house at 16 Washington Square, New York City. They have accrued their wealth largely through Dr. Sloper's hard work. Despite the lessons that Dr. Sloper has paid for in all the social graces for her, Catherine is a plain, simple, awkward and extremely shy woman who spends all her free time alone doing embroidery when she is not doting on her father. Catherine's lack of social charm and beauty - unlike her deceased mother - is obvious to Dr. Sloper, who hopes that Lavinia will act as her guardian in becoming more of a social person, and ultimately as chaperon if Catherine were ever to meet the right man. The first man ever to show Catherine any attention is the handsome Morris Townsend, who she met at a family party. Catherine is initially uncertain as to ... Written by
"Lux Radio Theater" broadcast a 60 minute radio adaptation of the movie on September 11, 1950 with Olivia de Havilland reprising her film role. See more »
In the scene in the rain, Catherine takes Morris' cloak off herself and wraps it around him. After the next cut the cloak is missing, then in the following closeup it reappears and Catherine buttons it around Morris' neck. See more »
Now, Catherine, if you will stay by me this evening, you will see that what I say is not always of the greatest importance, but dear, that doesn't keep me from talking.
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To call this film well-acted is like calling "Citizen Kane" a nice movie and Alfred Hitchcock an "okay" director. William Wyler was known for eliciting excellent performances from his actors (he's responsible for them receiving a record 14 Oscars in acting; more than twice as many as any other director) and in "The Heiress" he's in top form. This movie should be played in every acting class ever taught to show the brilliance of subtlety and range of expressions possible when one is conveying a character's inner emotions.
Olivia De Havilland is a beautiful woman, but you believe she's an ungainly bundle of shy awkwardness in the role of Catherine Sloper. And her transformation to a cruel wounded creature is perfectly believable. And Ralph Richardson as Dr. Sloper and Miriam Hopkins as Aunt Lavinia are letter perfect beside her. Sir Ralph (at least, I THINK he was knighted) can do more with stillness and a flick of an eyebrow than any actor I've ever seen (including Brando, Penn and any other method actor you care to toss into the mix). He was robbed at the Oscars.
Montgomery Clift was beautiful and seductive and, except for a couple of moments where he seemed too 1950s instead of 1850s, just right for the part. He almost holds his own with Sir Ralph when they meet to discuss him marrying Catherine, but he did do better work in "A Place In The Sun" and "From Here To Eternity."
Wyler's simplicity and grace in directing only enhanced the story. The use of mirrors to deepen emotional content (as in when Dr. Sloper, now ill, goes to his office after getting the cold shoulder from Catherine) is stunning. So is his willingness to let a scene play out rather than force along the pacing of the moment, as so many directors do, today (as in when Catherine offers to help her father rewrite his will).
There are no easy answers in this movie. You can think Dr. Sloper is right about Morris and only wants to protect his daughter, or you can see his actions as those of a vindictive man who blames her for the death of his beloved wife (in childbirth). Morris could be a fortune hunter, or he could be a man who does care for Catherine, in his own way, and would make her happy. Or all of the above. The whole movie is so beautifully composed, it's breathtaking. A definite must see for anyone who appreciates great stories well-told.
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