A poor boy of unknown origins is rescued from poverty and taken in by the Earnshaw family where he develops an intense relationship with his young foster sister, Cathy. Based on the classic novel by Emily Bronte.
The Earnshaws are Yorkshire farmers during the early 19th Century. One day, Mr. Earnshaw returns from a trip to the city, bringing with him a ragged little boy called Heathcliff. Earnshaw's son, Hindley, resents the child, but Heathcliff becomes companion and soulmate to Hindley's sister, Catherine. After her parents die, Cathy and Heathcliff grow up wild and free on the Moors and despite the continued enmity between Hindley and Heathcliff they're happy-- until Cathy meets Edgar Linton, the son of a wealthy neighbor. Written by
Marg Baskin <email@example.com>
When Heathcliff learns of Cathy's death, he cries out in anguish. When his mouth is open, silver-colored fillings (amalgam) are visible in his back teeth. During the time period the movie was set in, this type of dental procedure was not in existence. See more »
Not as good as the '39 version, but I prefer it anyway.
Several people have mentioned the music from this film, and for good reason. This was one of a handful of extraordinary scores by the largely forgotten Michel Legrand (THREE MUSKATEER 1974; SUMMER OF '42, BRIAN'S SONG, among others), and is one of my favorite twenty or so film scores ever. This movie, well-photographed as it was, simply reeks of Gothic atmosphere in great part because of this music. Passionate, sensual, beautiful, and tremendously dramatic, it was even released as a record album in 1970 by the short-lived American International Records Label and, unfortunately, has never been made available on CD. It would be worth a purchase on eBay! I also feel that, while Dalton as Heathcliff is by no means in the same acting league as Sir Laurence Olivier, his passion for Calder-Marshall (who is less effective as Cathy than was Merle Oberon) is nonetheless more urgent and less studied than Oliver's was in the '39 version.
I enjoy the original film for its moody black and white imagery and its fine romantic score (by Alfred Newman, also not available on CD); but, though it's admittedly a lesser film, by a small margin I prefer this 1970 take which, without Legrand's evocative scoring, would probably have been a bust.
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