Classic Films in Focus: THE WOMAN IN WHITE (1948)

The 1948 adaptation of Wilkie Collins' The Woman in White features some notable character performances and plenty of Gothic mystery, but it isn't an ideal picture or a very faithful treatment of its source material. Its appeal depends mainly on its sinister figures, particularly the always memorable Sydney Greenstreet as Count Fosco, but its leads are less interesting, and they get the majority of the screen time. Classic film fans will find the movie worth watching for Greenstreet, Agnes Moorehead, and John Abbott, but devotees of the original novel will find the changes problematic, especially where the romantic plot is concerned.

Gig Young plays the painter Walter Hartright, who gets drawn into intrigue when he becomes a drawing master to pretty heiress Laura Fairlie (Eleanor Parker) at Limmeridge House. Walter falls for Laura but is warned of her engagement to Sir Percival Glyde (John Emery) by Laura's cousin, Marian (Alexis Smith). When Walter accuses Sir Percival and Count Fosco (Sydney Greenstreet) of a diabolical plot involving a mad girl who strongly resembles Laura, Marian tells him to leave, but both Laura and Marian soon discover that Walter's suspicions were correct. Reunited some months later, Walter and Marian realize that Laura's double has died and been buried as Laura herself; together, they set out to rescue Laura from an asylum and restore her true identity.

The most appealing of the novel's sympathetic characters is Marian Halcombe, and the film recognizes this fact even as it rewrites much of her role. Alexis Smith gives a fine performance as the intelligent, capable Marian, who serves as a foil to the delicate and rather insipid Laura. Eleanor Parker is actually more interesting as mad Ann, Laura's double, than she is as Laura herself, and sadly that's a fault that the film keeps from the original text, in which Laura is a demure Victorian angel made damsel in distress. Both actresses give better performances than poor Gig Young, whose Walter seems very stiff for a lover who can't decide which girl he likes. Walter's role in the novel as de facto detective doesn't really carry over into the movie, and this leaves Young with little to do but strike poses and lock eyes with both of his leading ladies.

The action depends much more on the heavies, especially Greenstreet's Count Fosco as the prime mover of the plot. Greenstreet has just the combination of charm and menace, as well as the impressive girth, that make Fosco so fascinating as a literary villain, and if you like Greenstreet in other films you'll enjoy his performance here. John Emery's Sir Percival is just a thug in comparison, always eager to jump into murder, while John Abbott is delightfully awful and ineffectual as Laura's hypochondriac Uncle Frederick. Only Agnes Moorehead enjoys any ambiguity about her character's intentions; her Countess Fosco is an odd, repressed figure who has her own reasons for hating Fosco and pitying the plight of poor Ann. Fans of the actress will be sorry that she doesn't have more scenes, but she gets quite a moment in the film's climax as compensation.

The problems with The Woman in White might lie more with Stephen Morehouse Avery's screenplay than Peter Godfrey's direction or any actor's performance, but flaws it definitely has, although some of them are only apparent to those familiar with Collins' source material. Godfrey's best film, Christmas in Connecticut (1945), also stars Greenstreet, but most people remember the rotund actor most for his appearances in The Maltese Falcon (1941) and Casablanca (1942). You can see Alexis Smith play nasty in Godfrey's 1947 picture, The Two Mrs. Carrolls. Eleanor Parker went on to earn three Best Actress nominations for her roles in Caged (1950), Detective Story (1951), and Interrupted Melody (1955). Gig Young gets more to do in The Three Musketeers (1948), Torch Song (1953), and Desk Set (1957), and he won a Best Supporting Actor Oscar for They Shoot Horses, Don't They? (1969).

Classic Films in Focus: THE TWO MRS. CARROLLS (1947)

Director Peter Godfrey's modern Gothic offers two iconic stars - Humphrey Bogart and Barbara Stanwyck - as its leads, which is reason enough to see The Two Mrs. Carrolls (1947) in spite of its flaws. Bogart, who played heavies off and on throughout his career, is back on the dark side as a painter who finds artistic inspiration by murdering his wives, while Stanwyck is unusually naive as his current wife and next intended victim. Supporting performers include Nigel Bruce as an atrociously incompetent doctor and Ann Carter as Bogart's beguiling daughter, while Alexis Smith is particularly memorable as a predatory seductress who might be getting more than she expects by tempting Bogart's unhinged artist to leave his wife for her. Bogart, Stanwyck, and Smith all give fine performances, but the film suffers from a lack of suspense that undermines its chilling premise.

Stanwyck plays Sally, who becomes the second wife of painter Geoffrey Carroll (Bogart) after his first wife dies. Sally doesn't suspect that her predecessor's demise was murder, and Geoffrey goes to great lengths to hide his crimes even as he contemplates a second disposal to make way for wife number three. Goaded by the offers of the beautiful Cecily (Alexis Smith), Geoffrey intends to make Sally another victim of his maniacal need for a new muse to drive his work. Geoffrey's young daughter, Bea (Ann Carter), eventually reveals some of his secrets, and Sally realizes the truth about her husband, but her revelation might come too late to save her from his murderous schemes.

The two leads are the chief attraction here, though both are somewhat out of their element. Humphrey Bogart never looks like an artist, but he does make for a credible killer, and it's great fun to watch his Geoffrey come unhinged whenever his secrets are threatened. By the end of the film he has gone right off the rails, justifying his actions with a horrifically sexist assertion that his art is more important than any woman's life. The simmering intensity that Bogart exemplifies works well for dangerous, unstable characters, and his performance here provides a parallel to his more celebrated work in The Petrified Forest (1936), The Treasure of the Sierra Madre (1948), In a Lonely Place (1950), and The Caine Mutiny (1954). Stanwyck, normally a tough cookie and occasionally up for murder herself, here has an ingenue's role, and one of the film's frustrations is that we expect a Stanwyck character to be smarter. Stanwyck plays Sally as loyal, kind, and unsuspecting, which is what the role seems to demand of her, but it's not as good a part as the actress deserves, and Alexis Smith has the meatier role as the scheming Cecily. Stanwyck would get a much better chance to play an imperiled wife in the 1948 film, Sorry, Wrong Number, showing what she could do with a part more suited to her talent.

While the casting issues cause some obvious problems, the chief complaint about The Two Mrs. Carrolls is its inability to generate suspense. The film shows us up front that Geoffrey murders his first wife, creating dramatic irony for the audience as we wait for Sally to catch up. This approach can work well in a narrative, depending on how the unfolding events are handled as the protagonist learns the truth, but Sally stays in the dark so long that we wonder if she's paying attention. When she does finally figure it out there's a flood of information dumped into the last act so rapidly that we don't have time to savor Sally's discoveries. Even the reveal of the gruesome portrait of Sally as an Angel of Death - which ought to be a major moment - seems rushed. We see it briefly and then it's gone as Sally rushes on to the next piece of evidence. Great Gothic thrillers, whether literary or cinematic, use the slow build of rising suspicion and horror to drive the plot and the heroine forward to the inevitable confrontation with the villain. One has only to compare this movie's poisoned milk scenes with the one in Suspicion (1941) to see how differently a really suspenseful film handles the same concept. The 1940s, in fact, saw a host of excellent Gothic thrillers appear in the wake of Rebecca (1940) and the Jane Eyre inspired boom that followed, and it's a shame that The Two Mrs. Carrolls falls short in comparison with its sister films.

In spite of its failures, classic movie buffs will want to see The Two Mrs. Carrolls because it's the only picture to pair Bogart and Stanwyck. It's also worth seeing for fans of Ann Carter, the child star who so memorably plays the young protagonist of The Curse of the Cat People (1944). Peter Godfrey directs Alexis Smith again in The Woman in White (1948), which continues the Gothic trend, as does Cry Wolf (1947), which has Godfrey directing again for Stanwyck. For more of Smith and Bogart in a tale of murderous marriage, try Conflict (1945). Most of the Warner Bros. films are available as DVD on demand from the Warner Archive, including The Two Mrs. Carrolls.

Classic Films in Focus: CHRISTMAS IN CONNECTICUT (1945)

Although not as well-known, perhaps, as It’s a Wonderful Life (1946) or White Christmas (1954), Christmas in Connecticut (1945) is a holiday charmer justly beloved by many classic movie fans. Headliner Barbara Stanwyck makes an engaging heroine in this comedy of yuletide romance, but the real attractions here are the supporting players, particularly Sydney Greenstreet and S.Z. Sakall as two funny fat fellows who constantly steal the show from the more serious leads. With lively direction from Peter Godfrey and entertaining performances from Dennis Morgan, Reginald Gardiner, and Una O’Connor, Christmas in Connecticut is a great addition to the “must-see” list of holiday films.

Stanwyck stars as Elizabeth Lane, a successful columnist whose idyllic tales of married domestic life are pure fiction. Her elaborate deception catches up with her when a Navy war hero (Dennis Morgan) and her unsuspecting publisher (Sydney Greenstreet) ask to spend Christmas at her imaginary farm, forcing Elizabeth to procure a home, a husband, and a baby on short notice. Elizabeth is even set to marry bland boyfriend John (Reginald Gardiner) to sell the holiday ruse, but sparks fly when she meets Jeff, the handsome hero, even though he’s engaged to another girl.

Stanwyck is best remembered today for her femme fatale roles in noir classics like Double Indemnity (1944), but she was adept at romantic comedy, as well. Christmas in Connecticut shows a softer, more relaxed Stanwyck than we see in most of her other films. As Elizabeth, her hair is longer and her look is more natural; she’s not playing the tough cookie type this time. The love triangle of the plot gives her two leading men to play against, the wet blanket, all work and no play architect played by Gardiner and the all-American wartime good guy played by Morgan. Of course Morgan’s Jeff is the man for her; we know it from the way her eyes light up the moment he walks in the door, but the fun comes from seeing how the two of them will overcome the obvious but largely fictional obstacles to their romance.

As good as Stanwyck’s performance is, the comedians in the supporting roles are the real gems. Greenstreet and Sakall, both portly character actors with talent as great as their girths, are simply hilarious, especially as they begin to work in cahoots near the movie’s close. Una O’Connor has less to do, but she’s in fine form, sporting her full Irish accent and the usual busybody bluster at which she excels. I would say Joyce Compton’s drawl as Mary Lee is a bit much had the actress not been born in Kentucky, but she certainly does pour it on. Try watching the 1939 short, Hollywood Hobbies, for a different sense of Compton’s sound and style.

See more of Stanwyck’s comedic roles in The Lady Eve (1941) and Ball of Fire (1941). Greenstreet is celebrated today primarily for his debut role in The Maltese Falcon (1941), but you’ll also find him in Casablanca (1942) and Across the Pacific (1942). S.Z. Sakall appears with Stanwyck in Ball of Fire and also has a role in Casablanca, but he turns up in Yankee Doodle Dandy (1942) and In the Good Old Summertime (1949), as well. Look for Dennis Morgan in Kitty Foyle (1940) and My Wild Irish Rose (1947). Don’t miss the marvelous Una O’Connor in classics like The Bride of Frankenstein (1935), The Adventures of Robin Hood (1938), and Witness for the Prosecution (1957).

An earlier version of this review originally appeared on Examiner.com. The author retains all rights to this content.