Popular and beautiful Fanny Trellis is forced into a loveless marriage with an older man, Jewish banker Job Skeffington, in order to save her beloved brother Trippy from an embezzlement charge, and predictable complications result.
A piano teacher believes that her fiancé was killed on the battlefield. When he miraculously returns, they decide to marry, but are threatened by a wealthy, egotistical composer the piano teacher started dating on the rebound after she became convinced her love had died.
The wife of a rubber plantation administrator shoots a man to death and claims it was self-defense. Her poise, graciousness and stoicism impress nearly everyone who meets her. Her husband is certainly without doubt; so is the district officer; while her lawyer's doubts may be a natural skepticism. But this is Singapore and the resentful natives will have no compunction about undermining this accused murderess. A letter in her hand turns up and may prove her undoing.Written by
The first scene that William Wyler shot was the famous opening shot in which we see Leslie shoot Geoffrey Hammond. The opening shot, which lasted two minutes on screen, took an entire day to film, and that was before even a single word of dialogue was spoken. The studio expected him to shoot at a rate of 3-4 script pages a day, but the opening shot reflected a mere paragraph on page one. See more »
When Leslie enters her bedroom for the last time, she locks the door behind her. Later, the door is unlocked when Robert enters. See more »
Among the three Wyler-Davis' collaborations (the others being "little foxes" and "Jezebel" ) "the letter " is their triumph.The repugnance that most of the French critics feel for the great Wyler is one of their major flaws (coming from "les cahiers du cinema " and the stupidity of the nouvelle vague ravings).
"The letter" is a splendor.A screenplay so simple and so effective it's a wonder it grabs us till the last pictures.A first sequence to rival the best of Hitchcock.A feverish sticky deadly atmosphere from the mysterious garden where a malefic full moon shines on Davis' inscrutable face to the seedy place in the Chinese quarter where they smoke opium and where Gale Sondergaard spins a web :in this memorable scene when she forces Davis to kneel down,she almost surpasses the star,which will seem an impossible task to some,and yet..Every time Sondergaard appears on the screen ,she's absolutely terrifying.I was saying that the screenplay was simple ,but that kind of simplicity takes genius and I wish today's stories had this implacable logic.As always in Wyler's works of that era,the ball sequence is a recurring theme (see the admirable scenes of "Wuthering Heights" and "Jezebel" )Thus,the finale scenes revolve around a ball,beginning with Davis's entrance and ending with a view of the dancers from the outside ,à la "Wuthering Heights" .Excellent performances by the whole cast,fabulous directing,particularly in these last pictures ,where Davis is walking through the garden ,under a bad moon rising..You must see "the letter".
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