STRANGE INTERLUDE

US, 1932, 110 minutes, Black and white.
Norma Shearer, Clark Gable, Map Robson, Alexander Kirkland, Ralph Morgan, Robert Young, Maureen O'Sullivan, Henry B. Walthall.
Directed by Robert Z. Leonard.

Strange Interlude, the five-hour intensely dramatic play by Eugene O'Neill, was a strange choice for one of the earliest 'talkie films. It was presented as a vehicle for Norma Shearer and gave an opportunity for Clark Gable to perform in a serious (if miscast) role early in his career. The film keeps the outline of O'Neill's play as well its unusual technique: the use of voice-over to express the characters' thoughts in distinction to what they actually say to one another. The film seems especially contrived because of this but one can get used to it. However, audiences have to strain to respond to the film. Norma Shearer and Ralph Morgan have most lines with this device and they tend to overact, in the silent film style. Clark Gable is much more at ease in the device. Robert Young makes an appearance at the end as Norma Shearer's son.

The film was directed by Robert Z. Leonard who directed Gable in several films including Susan Lenox with Greta Garbo, made at the same time. Leonard was to make many films at M.G.M. - the most prominent were The Great Ziegfeld, Pride And Prejudice.

Strange Interlude has a very strong central character in Nina. She represents the manipulative and dominating American woman. Her husband Sam represents American success. Ned, played by Clark Gable, represents the self-sacrificing and used man. O'Neill refers to Greek tragedy and, as with Mourning Becomes Electra, has overtones of tragedy and fate in American settings. Other versions of O'Neill plays filmed were Anna Christie with Greta Garbo, The Hairy Ape, Mourning Becomes Electra with Rosalind Russell and Michael Redgrave, Desire Under The Elms and Sidney Lumet's Long Day's Journey Into Night. An adventurous film for the early '30s.

1. Eugene O'Neill and his play-writing talent, interests, reputation? His theatre reputation and themes? The style of the voice-over representing the characters' thoughts - a style for an early talking film? The success of this film with later versions of O'Neill?

2. The M.G.M. qualities, black and white photography, sets, fluid camera work and editing? The stars and their status?

3. The ordinary basic story of relationships, the passing of the years, fate? Guilt and punishment? The enhancing of the ordinary American story by the voice-over device? How contrived did it seem? Audiences straining, getting used to it? The style of language used in the voice-over - realistic or literary? The voices and the histrionic manner while the voiceover was spoken?

4. The adaptation of the play for the screen? The long play, the contrived drama, melodramatic aspects, acts, sets, the sense of time passing? How was this adapted for the screen and captured by the camera?

5. The post-World War One setting, the atmosphere of the '20s and into the 1930s? The implications of the film's action taking place after it was produced e.g. with Gordon's growing up? The background of World War One and the impact of the death of the older Gordon? The modernity of the '20s and '30s? New England representing the United States? The middle class and wealthy ethos? Wealth, manners, morals? Surface morality? The U.S. and its heritage - including madness? Family values (based on deception?)? The implications for morality, to help others, selfless ness? Truth and secrets? The life of success and wealth being brittle and hollow?

6. Nina as central character - a strong character of American drama? Initial sympathy for her? The precarious health, the confrontation with her father, getting Charlie's aid? Memories of Cordon? Her wanting to build a future in nursing? Father's opposition? The encounter with Ned and Sam? Her father's death and decisions? The influence of Charlie?

7. The complexity of Nina's motivations? Her wanting to mother Sam? His compensating for Cordon? The honeymoon, the possibility of success? The importance of Sam's mother and her speaking of the insanity? The collapse of the marriage? Nina's selflessness, self-preoccupation? Sam and his reaction? The importance of the brief sequence to visit the aunt in the attic? The encounter with Ned and Nina's beginning to control her life, her passion for Ned, her declarations of selflessness, having the child for Sam's sake? The various times she was on the brink of telling Sam? The irony of Sam’s prospering with fatherhood, big business, helping Charlie and Ned? The quality of his sanity - and the sanity of Nina and Ned? Nina's manipulation of Ned - sending him to the Bahamas, her kissing him in front of Cordon and her making up the story to appease Cordon? Her disappointment in not having Ned around? Her getting used to Sam? The affluent life? Her possessiveness of her son? Her wanting to tell Madeleine the truth? The irony of Sam's death, the confrontation with Cordon and his not knowing the truth? Freedom to marry Ned? Nina's femininity, control over men?

8. Nina's manner, her way of speaking, the importance of the voice-over and what it revealed about her interior feelings? Her missing opportunities to communicate her feelings? Her puzzle and anguish? Age, fears? Nina’s changing over the years? The importance of the birthday party sequence and the encounter with Ned and Sam? The rowing event and her being frustrated about Cordon's wedding? A peaceful ending? The final exhortation to Cordon as he flew away?

9. Sam (the ironic American name?) and his pleasantness, weakness, love for Nina, the marriage and honeymoon, his devotion to Nina, worry about her health? His mother's worry about insanity in the family? His never knowing the truth? The irony of Ned being the father of his son? A lavish father, wealth and prosperity? The birthday party and his presents for his son? His knowing that Cordon was to marry? The suddenness of his death? An American symbol of 20th. century prosperity and its values? The point of his having little voice-over commentary - few interior feelings and sentiments?

10. Ned as the pleasant friend, the infatuation with Nina, giving her her son, being forced not to tell the truth, his absence and his return to tell the truth and Nina's manoeuvres to hold him off? His desperation cooling over the years? His being caught in Nina's web? His biological research, absences from the family, the significance of his returns? Nina's sending him away? The birthday party and the clash with Cordon? His old age, saving Madeleine from knowing the truth? The possibility of Cordon knowing the truth at the end but Nina stopping him? The quality of his voice-over comments?

11. The ever-presence of Charlie? His friendship with the family, with Nina's father, advice to Nina? His mother and her illness? The quality of his friendship, jealousy of Ned, curiosity and wanting to know the truth? Watching everyone, gossiping? The comments made about his novels and their style? His growing old? His finally knowing the truth but not doing anything about it? The frequent voice-over, his manner? His disappointment in life?

12. Cordon and his role as the new generation, Sam as his father, Ned as his father? Hostility towards Ned, suspicions of his mother? Growing up and the marriage with Madeleine? His rowing success? His father's death
and his permission for Ned and Nina to marry? The optimism about the new generation?

13. Themes of fate, freedom, man's aspirations and their being thwarted, good and evil, guilt and punishment?

14. The success of the film as film? As filmed version of Eugene O'Neill?