Certainly the superficial attractions of physical beauty are no more a barrier to true love than the superficial allure of wealth?ĭoes our distrust of Morris come from the reversal of the beauty ethic (women are supposed to be the pretty ones), or the reversal of the patriarchal tradition (men are expected to support women)? When that someone comes in the form of Montgomery Clift, playing a man in possession everything that Catherine lacks except money we can't help but feel (hope) that at least in some ways, this pair is well-suited. At the same time we also see that there is more to Catherine than her retiring demeanor belies, making us hope that "someone" comes along and sees in her what those around her fail to recognize. Sloper is unnecessarily brusque in his assessment of his daughter, but he isn't entirely wrong. Heiress is that it does a remarkable job of putting us in the middle of the film's dramatic/romantic conflict without specifically telling us how we should feel about it. Herself to have brains and a winning sense of humor) have understandably failed to flower. Grow up in the shade of her father’s barely contained reproach and resentment,Ĭatherine’s natural virtues (visible to us in private moments where she reveals Mother’s beauty or social graces, is ceaselessly compared and judged. Presence to whom Catherine, in her failure to live up to even a modicum of her Sloper's heart and in the household he shares with his daughter. Sloper’sīeloved wife died giving birth to Catherine, yet lives on as an idealized, phantom presence in Dr. To her widowed father, physician Austin Sloper (Richardson). The Heiress was Montgomery Clift's 3rd film, and his co-star was three years olderĬatherine Sloper (de Havilland) is an unprepossessing, sociallyĪwkward young woman whose very existence is a source of nagging disappointment Rumination on love (familial love, romantic love, self-love) and the injurious cost In truth, the film is really a rather severe, withering Publicity suggesting a Grand Romance between fated-to-be lovers kept apart by some shadowy adverse obstacle. Have with William Wyler’s classic romantic melodrama, The Heiress.Īs a motion picture adapted from an esteemed literary work, The Heiress was Paramount’s “prestige film” for the year, its pre-release Rainbow in the 1941 film noir I Wake Up Screaming.) Happily, my personal aversion to the song Plaisir d’Amour and its use in the film's score (something I might share with the film's Oscar-winning/Oscar-disowning composer Aaron Copland) is the sole complaint I Rendered 19 th century New York, and thrusting me onto some kind of Gilligan’sĪ similar reaction to the now-distracting Time Plaisir d’Amour swells on the soundtrack, wrenching me out of the The Heiress' scrupulously
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Coming as it did a full 12-years before Elvis serenaded Joan Blackman in Blue Hawaii, it’s not The Heiress’s fault Elvis’s version (never a favorite) is so hotwired into my brain that I fairly wince every This pop music cross-referencing has always only had the effect of cheapening the originalĬompositions for me. In which Morris sings The Joys of Love to Catherine
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Played in the movie (and that’s quite a lot) it evokes for me not Victorian-eraĮver the Method actor, Clift learned to play the piano for this scene The unfortunate result of all this is that every time the melody is
The reason being that Theġ784 Jean-Paul-Egide Martini classical composition Plaisir d’Amour ( The Joys of Love)-had its melody borrowed for the popular ballad Can’t Helpįalling in Love in the 1961 film Blue Hawaii. Williams’ cultured English accent unfailingly come to mind whenever I watch The Heiress.
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