The Heiress
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The Heiress is a 1949 American romantic drama film directed and produced by William Wyler, from a screenplay written by Ruth and Augustus Goetz, adapted from their 1947 stage play of the same title, which was itself adapted from Henry James' 1880 novel Washington Square. The film stars Olivia de Havilland as Catherine Sloper, a naive young woman who falls in love with a handsome young man despite the objections of her emotionally abusive father who suspects the man of being a fortune hunter. Montgomery Clift stars as Morris Townsend, and Ralph Richardson as Dr. Sloper.<ref>Variety Film Reviews, September 7, 1949, p. 11.</ref><ref>Harrison's Reports and Film Reviews</ref>
The Heiress premiered in Los Angeles on October 6, 1949, and was theatrically released by Paramount Pictures on December 28, 1949. Although a box office failure, grossing $2.3 million on a $2.6 million budget, the film garnered critical acclaim, with reviewers praising Wyler's direction, its screenplay and the performances of the cast. The film received a leading eight nominations at the 22nd Academy Awards, including for the Best Picture, and won four awards (more than any other film nominated that year): Best Actress (for de Havilland), Best Original Score, composed by Aaron Copland, Best Production Design, and Best Costume Design.
In 1996, The Heiress was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".<ref>Template:Cite web</ref><ref>Template:Cite web</ref>
Universal Pictures, through its EMKA division, currently handles distribution of the film.
Plot
[edit]In 1849 New York City, Catherine Sloper, an inhibited, plain young woman, lives with her wealthy father, Dr. Austin Sloper, in prestigious Washington Square. Catherine's beautiful and accomplished mother died giving birth, and Catherine’s awkwardness constantly reminds her father of the poor exchange for his beloved wife. Widowed Aunt Lavinia Penniman, on an extended visit with her brother, helps Catherine improve her social skills.
At a ball, Catherine meets handsome, charming Morris Townsend, a polished young man who squandered a small inheritance on a European Grand Tour. Encouraged by Aunt Penniman, Morris artfully pursues Catherine, who he knows through her family connections will inherit $80,000. At first Catherine is overwhelmed by his persistence; starved for affection, however, she quickly falls in love. Suspecting Morris is a fortune hunter, Dr. Sloper consults with Morris's widowed sister, who reluctantly makes admissions that confirm Sloper’s opinion.
Before approaching Sloper to formally request Catherine's hand in marriage, Morris improperly makes Catherine pledge herself to him. Pointing out the impropriety, Sloper rejects him. When Catherine persists, Sloper insists on taking her on an extended European trip to separate the pair as a test. Catherine informs Morris that she already has a substantial $20,000 inheritance from her mother and does not need her father's approval. Morris claims that he is loath to estrange her from her father, and she should appease him.
While Catherine and her father are away, Morris frequents the Sloper home like a private club, enjoying Aunt Penniman’s hospitality and Sloper’s cigars and brandy. Disappointed with his daughter’s intransigence in her devotion to Morris, Sloper cuts the trip short. Upon returning home, he reveals to Catherine his low opinion of her merits, believing her dim for thinking any suitor would have an interest in her beyond her inheritance. He threatens to cut her out of his will if she marries Morris. Catherine now fully realizes the depth of her father's disdain.
Wounded and angry, Catherine is convinced that Morris's love is compensation for her father's coldness. She begs Morris to arrange their immediate elopement, not wanting to spend another night in her father's home. Morris holds out hope that her father will eventually relent, but Catherine insists that even if her father relents, she will never accept anything from him again. Reluctantly, Morris agrees to elope and leaves to pack his belongings.
Catherine waits with her bags packed, and Aunt Penniman stays with her, dismayed that Catherine revealed to Morris that there would be no money from her father. As the appointed time comes and passes without his arrival, Catherine realizes that Morris has abandoned her. Pondering why Morris was not satisfied with her substantial $20,000, her aunt explains it is a disappointment when expecting $80,000.
Days afterward, Sloper reveals he is dying and asks Catherine when she plans to leave with Morris. When Catherine admits that the elopement is off, Sloper expresses pride that Catherine has rejected Morris, but Catherine bitterly informs him that she was jilted. Catherine shrilly expresses that Sloper has denied her even the chance to "buy" a husband who at least would hide that he does not love her. She tells her father that if he leaves her his money, he will never know whether she wastes it on Morris or another fortune hunter. Sloper admits that he does not want to disinherit her and accepts that she can do as she pleases when he is gone. Hardened, Catherine refuses to come to his bedside when he finally succumbs.
Years later, wealthy, independent, and single, Catherine still lives in the Washington Square house with her aunt. Aunt Penniman informs Catherine that Morris has returned from California and wishes to explain himself. Initially reluctant, Catherine eventually agrees to see him. Now destitute, Morris attempts to win Catherine back, saying that he left, selflessly, not to estrange her from her father. Chiding him for not being as impetuous as he used to be, Catherine suggests they carry out the delayed elopement. Morris eagerly leaves to pack. When Morris returns to take her away, Catherine has bolted the door against him, leaving him desperately pounding on the door as she turns off the lights and goes to bed.
Cast
[edit]- Olivia de Havilland as Catherine Sloper
- Montgomery Clift as Morris Townsend
- Ralph Richardson as Dr. Austin Sloper
- Miriam Hopkins as Lavinia Penniman
- Vanessa Brown as Maria/Mariah
- Betty Linley as Mrs. Montgomery
- Ray Collins as Jefferson Almond
- Mona Freeman as Marian Almond
- Selena Royle as Elizabeth Almond
- Paul Lees as Arthur Townsend
- Harry Antrim as Mr. Abeel
- Russ Conway as Quintus
- David Thursby as Geier
Production
[edit]After seeing The Heiress on Broadway, Olivia de Havilland approached William Wyler about directing her in a screen adaptation of the play.<ref name=":1">Template:Cite web</ref> He agreed and encouraged executives at Paramount Pictures to purchase the rights from the playwrights (Ruth and Augustus Goetz) for $250,000 and offer them $10,000 per week to write the screenplay. The couple were asked to make Morris less of a villain than he was in their play and the original novel in deference to the studio's desire to capitalize on Montgomery Clift's reputation as a romantic leading man.<ref>Template:Cite web</ref>
The film premiered at Radio City Music Hall in New York City on October 6, 1949.<ref name=":0" />
Ralph Richardson reprised the role of Austin Sloper in a London production of the play.<ref name=":1" />
Reception
[edit]The Heiress received universal critical acclaim. When it premiered at Radio City Music Hall, Bosley Crowther of The New York Times wrote that the film "crackles with allusive life and fire in its tender and agonized telling of an extraordinarily characterful tale" and added Wyler "has given this somewhat austere drama an absorbing intimacy and a warming illusion of nearness that it did not have on the stage. He has brought the full-bodied people very closely and vividly to view, while maintaining the clarity and sharpness of their personalities, their emotions and their styles...The Heiress is one of the handsome, intense and adult dramas of the year."<ref name=":0">Template:Cite news</ref>
The Brooklyn Eagle found the film "an intensely satisfying drama that holds a high level of interest throughout, building relentlessly to a moving climax." Praise for the principals lauded de Havilland especially: "the transformation of Catherine Sloper from a pathetically shy girl to a cold, handsome woman" being "handled with finished skill."<ref>Sheaffer, Lew. "De Havilland Excellent as 'Heiress'." Brooklyn Daily Eagle, 7 October 1949.</ref>
The Philadelphia Inquirer praised the Goetzes for a skillful transformation of their stage version, finding it "in almost every way...superior." Prospects of an Academy Award for de Havilland were judged "thoroughly reasonable" as well.<ref>Martin, Mildred. " 'The Heiress' at Stanley Is Movie Melodrama." Philadelphia Inquirer, 24 December 1949.</ref>
TV Guide rates the film five out of a possible five stars and adds, "This powerful and compelling drama...owes its triumph to the deft hand of director William Wyler and a remarkable lead performance by Olivia de Havilland".<ref>TV Guide review</ref>
Time Out London calls the film "typically plush, painstaking and cold...highly professional and heartless."<ref>Time Out London review Template:Webarchive</ref>
Channel 4 stated "de Havilland's portrayal...is spine-chilling...Clift brings a subtle ambiguity to one of his least interesting roles, and Richardson is also excellent."<ref>Channel 4 review</ref>
Influence
[edit]Martin Scorsese has cited The Heiress as a key influence on his 2023 film Killers of the Flower Moon. Specifically, the portrayal of Mollie Kyle and her relationship with her husband Ernest Burkhart drew inspiration from de Havilland's portrayal of Catherine and her relationship with Morris.<ref>Template:Cite web</ref>
In popular culture
[edit]In 1975, the twenty-first episode of the eighth season of The Carol Burnett Show featured a take-off of the film titled "The Lady Heir", with Carol Burnett as Catherine and Roddy McDowall as Morris.<ref>Template:Cite web</ref>
The film's Philippine adaptation, titled Ikaw Pa Lang ang Minahal, was made in 1992. The adaptation was written by Raquel Villavicencio, produced by Armida Siguion-Reyna, and directed by Carlos Siguion-Reyna. The film stars Maricel Soriano and Richard Gomez as Adela and David.
Awards and nominations
[edit]See also
[edit]References
[edit]External links
[edit]Template:Wikiquote Template:Commons category
- Template:IMDb title
- The Heiress at AllMovie
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- The Heiress: A Cruel Inheritance an essay by Pamela Hutchinson at the Criterion Collection
- The Heiress essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 Template:ISBN, pages 426-427
Template:William Wyler Template:Washington Square Template:Authority control
- Pages with broken file links
- 1949 films
- 1940s historical drama films
- American historical drama films
- American black-and-white films
- Films based on American novels
- American films based on plays
- Films based on works by Henry James
- Films set in the 19th century
- Films set in New York City
- Films featuring a Best Actress Academy Award–winning performance
- Films featuring a Best Drama Actress Golden Globe–winning performance
- Films whose art director won the Best Art Direction Academy Award
- Films that won the Best Original Score Academy Award
- Films that won the Best Costume Design Academy Award
- Paramount Pictures films
- Films directed by William Wyler
- Films scored by Aaron Copland
- United States National Film Registry films
- Films based on adaptations
- 1949 drama films
- 1940s English-language films
- 1940s American films
- English-language historical drama films