Saint Joan


Tradition has it that Joan of Arc was born on this day, 6 January, around 1412, so it seemed apt to pen a quick post about the film Saint Joan (Preminger, 1957) in which AW played Pierre Cauchon, the Bishop of Beauvais who played an active role in Joan’s trial and execution.

Saint Joan (Jean Seberg) and Bishop Cauchon (AW)

The film was the first screen adaptation of George Bernard Shaw’s play, which was published in 1923, three after Joan was canonised by the Catholic Church. Shaw had died in 1950 and the screenplay was written by Grahame Greene, who had converted to Catholicism in 1926 and explored religious themes in many of his novels.

Although the part of Joan was given to newcomer Jean Seberg, the rest of the cast was drawn from a conventional roster of established actors, including experienced Shavian performers such as Felix Aylmer (in his firth of six screen appearances alongside AW) and Harry Andrews. The part of the effeminate Dauphin, Charles VII, went to Richard Widmark, who cinemagoers were more used to seeing as a rough action hero. Richard Todd played Joan’s field commander Dunois, while John Gielgud was cast as Warwick ‘the king-maker’. Margot Grahame – with whom AW had last appeared in Michael Strogoff twenty years previously – played the Duchesse de la Tremouille, and the part of the Archbishop of Rheims was given to Finlay Currie, who had also appeared with AW in 49th Parallel.

Rehearsals started on 17 December 1956. At the first reading at Shepperton studios, the actors all sat all sat round the table ‘like monks at a refectory’, with the bald headed Preminger taking the place of the abbot. Shooting began on 9 January 1957. Although the film was shot in black and white, the cinematographer was Georges Perinal, who had excelled in the glorious technicolour of The Life and Death of Colonel Blimp (1943) . The imagery is generally restrained, however, and the entire film has a somewhat austere appearance that emphasises its resemblance to a stage play. Despite a number of cuts, Greene’s screenplay remained faithful to Shaw’s text. The epilogue to the play – in which characters appear in a dream to discuss Joan’s fate – was split into two to form a framing device at the beginning and end of the film. 

AW and Richard Todd

Shooting was completed in three months, and Preminger returned to America at the beginning of May to make preparations for the gala French premiere in Orleans and Paris at the Theatre National de l’Opera on 12 May, the Feast of Saint Joan. Preminger seems to have enjoyed his time in England, and was full of praise for the skill and professionalism of the Shepperton studio workers. The British premiere took place in Leicester Square Theatre on Thursday 20 June, with Walbrook among the many stars attending. It was a charity events, Preminger showing his admiration by donating the profits to British Studio Workers Benevolent funds for the unions ACTT, ETU and NATKE.

Although the premiere had been highly anticipated, with seats sold out a week in advance, the film did not prove popular with the general public. I will be rewatching it this evening, but it is fair to say that combination of heavy dialogue and lengthy camera takes gives large parts of the film a static, stagey feel that dampens the visual sparkle that one might have expected from such a star-studded cast.

The performances are excellent nonetheless and AW’s portrayal of Bishop Cauchon conveys the ‘self-disciplined and conscientious’ character that Shaw was keen to emphasise. In the backlash against Joan’s execution, Cauchon was excommunicated and regarded as something of a villain who had allowed his pro-English politics to intrude upon his handling of religious matters. Both Shaw and Greene understood that his position was much more complex and AW captures the sense of a pious and conscientious man who is struggling to find the right course within a web of conflicting principles and motives. As he admits to Joan in the closing dream sequence, ‘I was faithful to my light, I could do no other than I did.’ Even if he failed to protect Joan, whose innocence he sensed, he behaves with calmness and dignity, rising above the threats and bullying of the different factions around him.

Shaw stated Cauchon’s age to be ‘about 60’ and production began just a few weeks after AW’s sixtieth birthday, although he was still allowing people to believe him to be four years younger. He once stated that he had thought about becoming a priest when he was younger, and he brings to the role of Bishop Cauchon a convincing episcopal gravitas, complete with dry wit and a sense of world-weariness. He was almost cast as a priest ten years earlier in a proposed biopic about another canonised saint, Mother Frances Xavier Cabrini, and it would have been interesting to have known what he might have done with the role. While many of his pre-war German films saw him portraying a stylish bon-vivant character, Cauchon was one of the long series of grand historical figures, soldiers and aristocracy that seem to dominate his post-emigration career.

Anton Artefact #6

It’s a delight to have my Anton blog back up and running again after a long hiatus, beginning with the next in the Artefact series, a programme for a screening of Michael Strogoff at the Stoll Picture Theatre in London.

 

Opened as the London Opera House in 1911, it was taken over by Oscar Stoll and converted to use as a cinema in 1917. As befitted a grand opera house, it had a spectacular design and lavish interior, replete with pillared galleries, carved facades and groups of sculpted figures depicting Melody, Harmony, Inspiration, Composition, Comedy, Tragedy, Dance and Song. Although Michael Strogoff is not a hugely popular film among Anton fans, watching the movie in such a setting must have been quite an experience.

We tend to forget sometimes that the 1930s moviegoers’ experience was quite different from our modern Odeons and multiplexes. This programme is for the week beginning Monday 9th August 1937, when Michael Strogoff was shown four times a day. As the page detail below illustrates, the film was not watched in isolation, but was an integral part of a twelve-hour continuous programme that included a live organ recital, orchestral music with comic performances and skaters, news bulletins and trailers, concluding with the National Anthem. (It was common for most people to make a dash for the exits during the end credits so they wouldn’t have to stand to attention for the anthem.)

 

Royal affairs were much on AW’s mind at the time, as filming of Victoria the Great had finished in May and everyone was getting ready for the premiere in September, which was held in Leicester Square. The Stoll Picture Theatre closed in 1940 and despite some postwar use as a theatre, was demolished in the late 1950s.

It was fifty years ago today…

AW in 1961

…that AW died at the home of his old friend, actress Hansi Burg, in Garatshausen, Bavaria, where he had been convalescing from a heart attack he had suffered on stage at the Kleine-Komödie in Munich at the end of March. I have written about this in more detail on previous anniversaries (see here and here.)

It had been my intention to mark this year’s special anniversary with the publication of my biography of the actor, but for various reasons this has not been possible. Hopefully it won’t be too long before the text is complete – watch this space for further news!

The website has been undergoing some behind-the-scenes transformations which have prevented me from uploading any new material in recent weeks, and again, I hope normal service will be resumed very soon. Thank you for continuing to visit the blog.

‘A grim study of the morbid’ – Gaslight and Gothic

 

Tonight, as part of their Gothic season, the BFI are screening their newly remastered print of Thorold Dickinson’s neo-Victorian thriller Gaslight (1940), and to mark the occasion I thought I would post a few notes about the film and its Gothic elements – including, of course, Walbrook’s portrayal of the villainous Paul Mallen. All the images below are of items in my own collection, as usual.

This is the cover of the first edition of William Drummond’s novel, published in the Paperback Library Gothic series in September 1966. The notes on the back cover hammer home the publisher’s belief in the story’s Gothic credentials: “The Greatest Gothic Thriller of All Time!” a “nerve-shattering novelization of that modern masterpiece of Gothic terror and suspense” and “a genuine candidate for honors in the Gothic field.” The lurid plot synopsis emphasises the classic Gothic themes of a beautiful damsel in distress, an evil house, incarceration and madness –

Bella was trapped in the evil mansion on Angel Street – a helpless victim whose safety and sanity was as uncertain as the flickering gaslight that filled her with horror!

Lying in drugged terror in her bedroom, beautiful Bella suspects that her own husband, sinister Mr. Manningham, is driving her mad. But can she be sure? As she fights the whirlpool of insanity, again and again Mr. Manningham threatens to put her into an asylum. 

This picture of Bella shows her looking thoughtful rather than terrified, and it should be noted that Drummond’s characterisation of Bella differs considerably from that seen in the film: in the novel she has received a classical education and has a much more vigorous and inquiring mind. Diana Wynyard’s performance is an exquisite portrait of innocence and vulnerability, which makes her humilation at Mallen’s hands all the more painful to watch.


The following year saw the publication in Britain of this paperback, issued by Arrow Books. Most of the text on the back cover repeats the blurb from the American edition.

The cover picture, like the one above, consists of three key images – the female victim, the male villain, and the fog-shrouded gaslight; it is around this trilogy that the entire story revolves. Although subtitled ‘A Victorian Thriller in Three Acts’, Patrick Hamilton’s 1938 play lacks the complex plot twists and revelations that are typically found in 19th century crime mysteries. The suspense is psychological rather than plot-driven, and the film therefore depends heavily upon strong performances from the actors: Walbrook as Mallen, Diana Wynyard as Bella, with support from Frank Pettingell as Sergeant Rough, Catherine Cordell as the vixenish maid Nancy, and Robert Newton as Bella’s cousin, Viscount Ullswater.

Gaslight‘s atmosphere of threat and menace is made more disturbing by the carefully crafted domestic setting, highlighting the contrast between the genteel Victorian household and the murder and insanity that lurk within. In a moment of appalling hypocrisy, Mallen leads the household in family prayers, picking up the Bible to read the opening line of Psalm 127: ‘Except the Lord builds the house…’ It is in fact the dark and violent history of the house that is disturbing both husband and wife; such a troubled relationship between a house’s past and present is another classic trope of the Gothic tradition.

There are many other literary echoes in Hamilton’s Victorian pastiche. The name of Sergeant Rough is probably meant to recall that of Wilkie Collins’ character Sergeant Cuff in The Moonstone (1868) – one of the first detectives in fiction, and an archetypal figure for subsequent detective heroes.  Similarities exist between the plot of Gaslight and that of Collins’ earlier novel The Woman in White (1859) – a wicked and avaricious husband exercising despotic control over his wife, concealed identities, falsified family histories, and the incarceration of a healthy married woman in an asylum for “delusions” that are in fact true. Parallels can also be made to Jane Eyre (1847), with Mrs Mallen’s virtual imprisonment in her Westminster townhouse echoing the incarceration of Mrs Rochester’s in the attic at Thornfield.  Gaslight shows the absolute power that could be wielded by a Victorian husband over his wife, and it is worth remembering that, until the Married Women’s Property Acts of 1870 and 1882, women like Bella Mallen had no control over their money and property, which were the legal possession of her husband. It is rather ironic that Walbrook was fresh from triumphant performances as wholesome Prince Albert Albert in Victoria the Great (1937) and Sixty Glorious Years (1938), before participating in Hamilton’s attack on the dark side of Victorian masculinity.

Viewers of the film were impressed by Walbrook’s performance, which proved – as one letter-writer in The Picturegoer put it – thathe can be as good a villain as hero.’  Lionel Collier, in the same magazine, called Gaslight ‘a piece of Grand Guignol’ and added, ‘Anton Walbrook is brilliant as the merciless, calculating murderer. It is a grim study of the morbid.’

Although we never see Mallen striking Bella, the presence of domestic violence is symbolised by the Punch and Judy show taking place beneath their window in Pimlico Square.  The archetypal tale of such domestic cruelty is of course Bluebeard, a legend explicitly cited in the 1944 MGM remake of Gaslight, where Bella (renamed Paula Alquist in the Hollywood version) falls into a conversation on a train with an old lady who is reading a Gothic novel based on the Bluebeard story, and then moves on to relate this to the murder of Paula’s aunt in London. Although there is no ‘forbidden chamber’ at No. 12 Pimlico Square, Bella’s discovery of secret objects – such as the the letters locked away inside Mallen’s bureau – reveal the truth about her husband’s real identity and murderous past, thus placing her life in further danger. As with Bluebeard, she does not save herself but relies on male intervention from outside the house. However, there is a clever twist at the end of the play, when Bella locks herself and Mallen inside the bedroom alone, and throws away the key; now the villain is unprotected, the police are on the other side of a locked door, and he is alone with a madwoman who has fully realised the extent of her husband’s evil…..


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Patrick Hamilton got the central idea for his play – the image of dimming gas lights – from a crime novel written by his brother Bruce Hamilton, To Be Hanged (1930.)

Written during 1937 it was first performed at the Richmond Theatre in Surrey on 5 December 1938, produced by Gardner Davies. It soon transferred to the west end, opening at the Apollo Theatre on 31 January 1939. George VI and Queen Elizabeth were among those who saw the play.

The part of the villainous husband was played by Denis Arundell, who had a small role alongside Walbrook in The Life and Death of Colonel Blimp four years later. On 19 March 1939 Arundell and the rest of the cast performed the play before BBC cameras at Alexandra Palace, enabling it to be broadcast live for television audiences (then numbering well under 100,000 households in the UK.) 

The play later moved to Broadway, where it opened under the title of Angel Street on 5 December 1941 – two days before the Japanese attack on Pearl Harbor.  Manningham’s role was played by Vincent Price and the production ran for four years, bringing Hamilton considerable wealth.  When the MGM film starring Charles Boyer and Ingrid Bergman was released in Britain it went under the title of The Murder in Thornton Square to avoid confusion with the British original.


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This is an early promotional poster for Gaslight, issued with Kinematograph Weekly magazine in January 1940. The director’s name is given here as Anthony Asquith; within a few days he would be replaced by Thorold Dickinson.

Although I am a huge admirer of Dickinson’s work, I remain curious as to what Asquith would have done with Gaslight. He proved himself a skilled director of theatrical adaptations, but the atmospheric power of some of his early silent films – especially A Cottage on Dartmoor – suggests he could have made something quite special out of Hamilton’s play. In the same year that Hollywood remade Gaslight, Asquith produced a costume drama for Gainsborough Studios – Fanny by Gaslight – which is also set in late Victorian London and features another black-caped villain, this time played by James Mason.


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The poor condition of this glass plate is due to its having been discovered on a rubbish dump in Scotland. Someone once suggested to me that it was a beer mat, but the plate is in fact a lantern slide, hand made for the purpose of advertising Gaslight to cinema audiences: the image would have been projected onto the cinema screen prior to another film being shown, in the same way that trailers are now shown. The use of such slides persisted into the 1950s, and even later in some places.


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On the left is a Spanish handbill advertising Gaslight at the ‘Cine Victoria’ in Silla. The reverse of the bill promises that the film will deliver ‘Gran emocion!’ and ‘Intenso dramatismo!’, although the promoters obviously thought a picture of can-can dancers would widen the film’s appeal. The image of Walbrook and Wynyard is clearly based on the film still on the right, which was issued as a postcard by Picturegoer magazine.

The two actors had already proved their ability to work well together in Noel Coward’s comedy Design for Living, which opened in the West End in January 1939 and ran – at various venues  – for twelve months, allowing the two stars only a short break before they began filming Gaslight. 


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The relationship between Otto (Walbrook) and Gilda (Wynyard) in Design for Living is utterly different from the tortured married life of the Mallens; Coward’s play revolved around a Bohemian menage-a-trois shared with Rex Harrison. Cathleen Cordell, who played Nancy in Gaslight, was another cast member – she played a young newly wed named Helen Carver, seen here on the sofa in a scene from Act III.

Nancy is shown below, greeting the Mallens on their arrival at No.12 Pimlico Square, on this French publicity sheet about Gaslight. Mallen’s flirting with the maid is just another means of tormenting Bella, but it also signifies the power that he holds over the women in his house. His dark, Byronic magnetism is revealed by Nancy’s confession to her master, ‘I always wanted you, ever since I clapped eyes on you.’  Walbrook played very few villains in his career, and the crimes of Captain Suvorin (Queen of Spades, 1949) and Major Esterhazy (I Accuse, 1959) pale alongside the impenitent cruelty of Mallen. It is only at the end, when we see him unkempt and hysterical, oblivious to those around him as he claws at the rubies, that it becomes apparent how much his mind has been damaged by this twenty year obsession. Is the revelation of insanity a punishment for his crimes or a plea for mitigation? In the dark heart of Gothic, such questions are often easier to ask than to answer.


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