"TITANIC" (1953) Review

 

"TITANIC" (1953) Review

As many moviegoers know, there have been numerous film and television productions about the maiden voyage and sinking of the R.M.S. Titanic on April 15, 1912. The most famous production happens to be James Cameron's 1997 Oscar winning opus. However, I do wonder if there are any fans who are aware that another Titanic movie managed to strike Oscar gold.

Directed by Jean Negulesco, the 1953 movie "TITANIC" focused on the personal lives of a wealthy American family torn asunder by marital strife, a deep secret and the historic sinking of the Titanic. Family matriarch Mrs. Julia Sturges and her two children, 17-year-old Annette and 10-year-old Norman board the R.M.S. Titanic in Cherbourg, France. Julia hopes to remove her children from the influence of a privileged European lifestyle embraced by her husband Richard and raise them in her hometown of Mackinac, Michigan. Unfortunately, Richard gets wind of their departure and manages to board the Titanic at the last moment by purchasing a steerage ticket from a Basque immigrant and intercept his family. The Sturges family also meet other passengers aboard ship:

*20-year-old Purdue University tennis player Gifford Rogers, who falls for Annette
*the wealthy middle-aged Maude Young (based upon Molly Brown)
*a social-climbing snob named Earl Meeker
*a priest named George S. Healey, who has been defrocked for alcoholism
*American businessman John Jacob Astor IV and his second wife Madeleine

Julia and Richard clash over the future of their children during the voyage. Their conflict is reinforced by Annette's budding romance with college student Gifford Rogers and a dark secret revealed by Julia. But the couple's conflict eventually takes a back seat after the Titanic strikes an iceberg during the last hour of April 14, 1912.

There seemed to be a habit among moviegoers lately to judge historical dramas more on their historical accuracy than on the story. As a history buff, I can understand this penchant. But I am also a fan of fiction - especially historical fiction. And I learned a long time ago that when writing a historical drama, one has to consider the story and the character over historical accuracy. If the latter gets in the way of the story . . . toss it aside. It is apparent that screenwriters Charles Brackett (who also served as producer), Richard L. Breen and Walter Reisch did just that when they created the screenplay for "TITANIC". Any history buff about the famous White Star liner's sinking would be appalled at the amount of historical accuracy in this movie. However, I feel that many lovers of period drama would be more than satisfied with "TITANIC", thanks to a well-written personal story and top-notch direction by Jean Negulesco.

Superficially, "TITANIC" is a melodrama about the disintegration of a late 19th century/early 20th century marriage. The marital discord between Julia and Richard Sturges is filled with personality clashes, class warfare, disappointment and betrayal. And actors Barbara Stanwyck and Clifton Webb did their very best to make the clash of wills between husband and wife fascinating and, in the end, poignant. One of the movie's best scenes featured a confession from one spouse about a past discretion. I am not claiming that the scene was particularly original. But I cannot deny that thanks to stellar performances from Stanwyck and Webb, I believe it was one of the best moments of melodrama I have ever seen on screen . . . period. But their final scene together, during the Titanic's sinking, turned out to be one of the most poignant for me. And by the way, fans of the 1997 movie would not be hard pressed to recognize one of Webb's lines in the film . . . a line that also ended up in Cameron's movie.

"TITANIC" featured other subplots that allowed the supporting cast to shine. Audrey Dalton portrayed Julia and Richard's oldest offspring, the beautiful 17-year-old Annette, who had become enamored of her father's penchant for European high society. Dalton did an excellent job of slowly transforming Annette from the shallow socialite wannabe to the shy and naturally charming young woman who has become more interested in enjoying her youth. And the character's transformation came about from her budding friendship and romance with the gregarious Gifford Rogers. Robert Wagner seemed a far cry from the sophisticated man that both moviegoers and television viewers have come to know. His Gifford is young, friendly and open-hearted. Wagner made it easier for moviegoers to see why Annette fell for him and Julia found him likeable. However, I was not that enthusiastic about his singing. Harper Carter did an excellent job of holding his own against the likes of Stanwyck, Webb and Dalton as the Sturges' son Norman. In fact, I found him very believable as the 10-year-old boy eager to maintain his father's interest without accepting the snobbery that marked Annette's personality. Perhaps he was simply too young.

The movie's screenplay also featured a subplot involving a young priest named George Healey, who dreaded his return to the U.S. and facing his family with the shameful news of his defrocking. Thanks to Richard Basehart's subtle, yet sardonic performance, I found myself feeling sympathetic toward his plight, instead of disgusted by his alcoholism. Thelma Ritter gave her usual top-notch performance as the sarcastic noveau riche Maude Young. Allyn Joslyn was amusing as the social-climbing card shark, Earl Meeker. And Brian Aherne's portrayal of the Titanic's doomed captain, was not only subtle, but he also kept the character from wallowing into some kind of second-rate nobility that usually makes my teeth hurt.

For a movie that did not have James Cameron's advantages of creating the technical effects of the 1997 movie, "TITANIC" proved to be an attractive looking movie. Production manager Joseph C. Behm and his team did a solid job of re-creating life aboard an ocean liner, circa 1912. Behm was also assisted by costume designer Dorothy Jeakins, Don B. Greenwood's art department, Maurice Ransford and Oscar winner Lyle R. Wheeler's art directions, and Stuart A. Reiss' set decorations. Although the movie did not feature an accurate re-creation of the Titanic's sinking, I have to admit that visually, the special effects created by a team led by Ray Kellogg were very impressive, especially for 1953. They were ably assisted Joseph MacDonald's black-and-white photography and Louis R. Loeffler's editing.

Earlier in this review, I pointed out that James Cameron's 1997 film was not the only one about the Titanic that struck Oscar gold. Although "TITANIC" did not win eleven Academy Awards, it was nominated for two Oscars and won a single one - namely a Best Original Screenplay award for Brackett, Breen and Reisch. But despite an award-winning script, a superb cast led by Barbara Stanwyck and Clifton Webb and a first-rate production team, "TITANIC" still could have ended in disaster. But it had the good luck to have an excellent director like Jean Negulesco at the helm.

"TITANIC" (1953) Photo Gallery

Below are images from "TITANIC", the 1953 movie version of the sinking of the S.S. Titanic. Directed by Jean Negulesco, the movie starred Barbara Stanwyck and Clifton Webb:

"TITANIC" (1953) Photo Gallery

Second Look: "PEARL" (1978)

 

SECOND LOOK: "PEARL" (1978)

After recently watching the 2001 Michael Bay movie, "PEARL HARBOR", I decided to watch "PEARL", the three-part miniseries that aired on ABC back in 1978. Watching it made me realize how many years had passed since I last saw it.

Directed by Hy Averback and Alexander Singer, and written by Stirling Silliphant; "PEARL" focused upon the experiences and lives of the U.S. military, their families, and some civilians during the few days that surrounded the Japanese Navy's air attack at Pearl Harbor in the Hawaiian Islands in December 1941. The miniseries featured a handful of subplots that featured the following cast of characters:

-Midge Forrest, the unhappy and promiscuous wife of a U.S. Army colonel, who is still mourning the death of her only child after many years.

-U.S. Army officer Colonel Jason Forrest, a strict and bigoted disciplinarian who is despised and feared by the men under his command.

-Wealthy Southern-born U.S. Army Captain Cal Lankford, who is Forrest's second-in-command and Midge Forrest's lover.

-Obstetrician Dr. Carol Lang, whose suicidal behavior attracts the attention of Captain Lankford.

-U.S. Navy Lieutenant Junior Grade Doug North, a naval officer and military brat who wants to break family tradition and become a civilian.

-Holly Nagata, a Japanese-American journalist for a small newspaper and past childhood friend of Doug's, who becomes his new love.

-U.S. Army Private Billy Zylowski, a troublesome soldier and talented painter who falls for an inexperienced prostitute named Shirley.

The subplots in "PEARL" seemed so extensive that I thought it would be best to list some (and I mean a lot) of observations that I made it:

*The pettiness of the peacetime military is revealed in great detail, especially the conflict regarding the unwanted Private Finger and a pinball machine.

*The miniseries also conveyed the intelligence and military establishments' bigotry toward non-whites on Hawaii in great detail. This was especially apparent in the showdown at the Royal Hawaiian Hotel between Dennis Weaver's Colonel Forrest and Tiana Alexander's Holly Nagata, which I found particularly delicious.

*I had forgotten that Adam Arkin, who portrayed Private Zylowski, was in this miniseries. His character is an ex-con who had joined the Army to avoid a prison sentence. He is also supposed to be a first-rate boxer. His character strongly reminds me of a New York version of Montgomery Clift's character in the 1953 movie, "FROM HERE TO ETERNITY" - especially his relationship with the prostitute Shirley.

*One of my favorite scenes featured Captain Lankford's success in preventing Dr. Carol Lang from committing suicide. Good acting from both Robert Wagner and Lesley Ann Warren.

*One of the most painful moments I have ever seen in "PEARL" turned out to be the scene in which Doug North meets Holly's Japanese-born parents and experiences their silent bigotry. Very powerful scene and great acting by Tiana Alexander, Gregg Henry, Seth Sakai and Marik Yamoto.

*Watching Colonel Forrest and the general's wife (portrayed by Audra Lindley) dance and fail to enjoy themselves was one of the funniest moments in the miniseries.

*"WHO IS THAT ORIENTAL PERSON WHO SPOKE TO YOU?" - The reason I had typed that quote in caps was to hint how loudly Audra Lindley said it to Dennis Weaver's character. Unforgettable moment.

*I was disappointed to notice that some of the female extras at the Officers' Ball sequence failed to look as if they had stepped out of a photo circa 1941.

*Some might take this the wrong way, but I am speaking from a cinematic point of view. The scenes featuring the Japanese Zeroes flying over Oahu looked very beautiful to me. However, I suspect the scenes are stock footage from the 1970 movie, "TORA! TORA! TORA!".

*Due to Angie Dickinson's superb performance, Midge Forrest's speech about the travails of Army officer wives was absolutely marvelous. And it was highlighted by two wonderful lines spoken by Midge:

"Jason, I look at you and see 10,000 chairs."
"You and I have been at war for the past eighteen years."

*Another memorable scene featured FBI agents' warning to Mr. Nagata about his pigeons and threat about imprisoning the entire family. Their warning and threat led to a disturbing moment in which Mr. Nagata kills his pigeons with his bare hands.

*Some of the footage showing civilians evacuating their homes looked as if they had been shot in the early 1950s, instead of a decade earlier.

*It is interesting how Colonel Forrest is so obsessed with the idea of a Japanese-American fifth-column on the Hawaiian Islands. According to two historians, the U.S. government harbored a similar obsession that went back several decades.

*The most painful and heart wrenching moment in "PEARL" was featured in a scene in which Holly grieved over Doug's body, while Carol Lang looked on, crying. Great performances by both Tiana Alexander and Lesley Ann Warren. There was a follow-up in which Holly visited the Norths, Doug's family, at the Royal Hawaiian Hotel. Not only was Alexander great in this scene, but also Richard Anderson, Mary Crosby and especially Marion Ross, as Doug's family.

*In "PEARL", the U.S. Army seemed to be the major military force for the Hawaiian Islands. But I could have sworn that in real life, the U.S. Navy served that role. Am I wrong . . . or right?

*Dennis Weaver and Robert Wagner have an interesting moment where their characters - Colonel Forrest and Captain Lankford - declare their loathing of each other. But the scene's pièce de résistance featured Midge's grand announcement of her intentions to divorce her husband. Her exit proved to be even more spectacular. I felt it was one of Angie Dickinson's finest moments on screen and she received great support from Dennis Weaver, Robert Wagner and Brian Dennehy.

*Another interesting scene centered on Admiral Nagumo's (portrayed by actor Sô Yamamura) criticism of his staff for commencing the attack on Pearl Harbor five minutes too early. What the admiral did not realize was that a snafu made by clerks at the Japanese Embassy in Washington D.C. prevented Japan from officially declaring their intentions to the U.S. government on time.

There were many aspects in "PEARL" that strongly reminded me of "FROM HERE TO ETERNITY". Both productions featured an unhappily married and promiscuous officer's wife, an Army private that was unpopular with his company's non-coms and officers, another Army private falling in love with a prostitute and a setting featuring before, during and after the attack on Pearl Harbor.

But there were differences. The U.S. Navy was strongly represented by the character of Lieutenant j.g. Doug North, his father and some of the men under his command. Doug's romance with the Japanese-American journalist, Holly Nagata, seemed straight from the 1893 short story, "Madame Butterfly". Whereas the 1953 movie seemed to feature more enlisted men and non-coms, officers also had major roles in the 1978 miniseries.

While many might turn up their noses at the similarities between "PEARL" and "FROM HERE TO ETERNITY", there is an ironic footnote to this whole situation. About less than a year after "PEARL" aired on television, NBC followed up with its own miniseries adaptation of "FROM HERE TO ETERNITY".