DODSWORTH

US, 1936, 101 minutes, Black and white.
Walter Huston, Mary Astor, Ruth Chatterton, David Niven, Paul Lukas, Gregory Gaye, Maria Ouspenskaya, Spring Byington, John Payne.
Directed by William Wyler.

Dodsworth is an interesting and entertaining American drama of the '30s. It was adapted by playwright Sidney Howard from Sinclair Lewis' best-selling novel. Howard had adapted Lewis' Arrowsmith for the screen in 1932 (directed by John Ford). Both were Sam Goldwyn productions. This film was directed by William Wyler who was at the beginning of a most successful and prize-winning career - Jezebel, The Little Foxes, Mrs. Miniver, The Best Years Of Our Lives, Detective Story, Roman Holiday, Ben Hur to Funny Girl. He gets excellent performances
from Walter Huston as Sam Dodsworth and, especially, from Ruth Chatterton as his wife longing to remain young. There is a sympathetic performance by Mary Astor as a divorcee. The young David Niven has a small role, as has Paul Lukas.

The film portrays familiar material but it does so with insight and intelligence that raises the film from danger of stereotype or cliche. Photography is by Rudolph Mate and music by Alfred Newman.

1. The film as an example of fine 130s movie-making? A piece of Americana: American industry. characters. plot, observation and critique? The talents of Sam Goldwyn's production. William Wyler's direction, Sinclair Lewis' novel. Sidney Howard's adaptation? The contribution of the musical score?

2. Sinclair Lewis and his celebrated status as an American novelist? His creation of situations and period? observation of character? Society, wealth, Americans travelling in Europe? Values, morality? observation and critique? A satisfying film version of his novel?

3. Black and white photography, sets and the atmosphere of the United States and Europe? A feeling for the '30s? The strengths of the cast?

4. The impact of the opening. the introduction to Sam Dodsworth, his manufacturing firm and the importance of his name? His decision to leave, his hopes, the acclamation of the workers, the beginning of a new life? His eagerness, gradual disappointment and disillusionment? His love and his love not being answered? The hollowness of his marriage? His becoming dissatisfied and listless - the possibility of new life, new support and love?

5. Walter Huston's presence as Sam - leaving his firm, the return to Fran and her incessant chatter. his love for his daughter? His friends and their support? His ease of manner, age. experience, self-made man, having earned his rest and retirement? His enjoying life, eagerness to see the European heritage? The beginnings of the cruise, his enjoying the cruise, making friends? His exhilaration at seeing land and the lighthouse? Fran's lack of response? His beginning to cope with Fran? His enjoyment of Paris? His decision to return home - and Fran's refusal?

6. The film's character portrayal of Fran: her marriage. age. love for Sam and signs of affection. love for her daughter? Her chatter. memories of Europe from her girlhood, the longing for the opportunity to break out? Her enjoyment of the cruise. dressing and formality? The encounter with Clyde and the flirtation. leading him on, his responding to her advances and his insulting her? Her tantrum? Sam's support and understanding? Paris and her exhilaration. going out. the boredom of her birthday celebration at home, the infatuation with the men. the romantic attachment to Arnold? Her decision not to return home? Her liaison with Arnold? The surprise of Sam's return after her not answering his letters - and burning them at Arnold's suggestion? The confrontation with Arnold and his retiring? The reconciliation? Vienna and her infatuation with Kurt? Her exhilaration with life. affectation. snobbery, flirting,. wanting to be carefree, her self-centredness,. the growing preoccupation and pretence with being young? Her reaction to Sarn's letters. refusal to come home. lies. superficial reconciliation,, refusing to go to the birth of her grandchild,, refusing to ring and acknowledge that she was a grandmother? Kurt's proposal? a picture of the future? Kurt and the influence of his mother and his postponing the marriage? Her impulsive ringing of Sam, her demand of reconciliation? The visit to Naples, her behaviour on the boat, the incessant chatter, the criticisms of others, the self-centredness, the blaming of Sam? The audience seeing her through Sam's eyes and his leaving her? Her being left on the boat lonely and lost?

7. Sam and his return to the United States, crankiness with the family, disappointment with Fran? His return to Paris, the detective finding Fran's whereabouts, summoning Arnold? The confrontation? The momentary reconciliation? The confrontation in Vienna? His listless travelling, arrival at Naples? The encounter with Edith and the peacefulness of staying with her, fishing, the boat? The future and his dreams , coming to life again, industry and invention? The phone call and his sense of responsibility for Fran, old habits? His listening to her on the ship and audiences agreeing with his decision to leave her? The exhilaration of his return to Edith? Life and energy?

8. Edith and her presence on the boat, as a guest, Naples and her invitation to Sam to live in the villa, gossip and her disregard of it, companionship, falling in love, her concealing the phone call, her sadness at his leaving, the future with him?

9. The American lifestyle compared with that of Europe? Emily and Harry and their building a life together, the birth of the child? Sam and his friends and their sympathy and advice?

10. The portrait of Arnold and the suave Austrian? Clyde and the military conman? Kurt and the naive young European aristocrat?

11. Themes of Europe and America? Innocence versus experience? The effect of Europe on the Ame-ricans? Their feeling themselves hicks and wanting to keep pace or return home? The film's portrait of Dodsworth as symbolising the American man? How satisfying a piece of Americana?