The Education Of An American

“Dodsworth” (1936) — movie review
Today’s review is for the mature, quietly devastating drama “Dodsworth” (1936), directed by William Wyler and starring Walter Huston as Sam Dodsworth (a self-made automobile magnate confronting the limits of success and the fragility of marriage);  Ruth Chatterton as Fran Dodsworth (his socially ambitious wife, desperate to outrun aging); Mary Astor as Edith Cortright (the warm, grounded expatriate who becomes Sam’s romantic interest);  Paul Lukas as Arnold Iselin (one of Fran’s – several – affairs in Europe); John Payne in his first role playing Harry McKee (Dodsworth’s son-in-law);  Maria Ouspenskaya as the elderly mother of one of Fran’s “suitors”;  and David Niven in an early role as Captain Lockert (the first of Fran’s fleeting romantic diversions).  Adapted from Sinclair Lewis’s novel and Sidney Howard’s play, the film examines pride, vanity, aging, and the search for meaning with a restraint that still feels modern.
Background:  This is my first viewing of this film and I did so with no prior knowledge except that it had been a Best Picture Oscar nomination.  Released in 1936, “Dodsworth” arrived during a period when studios were experimenting with more mature themes, and Wyler’s direction helped elevate it beyond the typical melodrama of the era.  The film received seven Academy Award nominations, including Best Picture, Best Actor (Walter Huston), Best Supporting Actress (Maria Ouspenskaya), and Best Director.  It won the Oscar for Best Art Direction.  Historically, it stands as one of the earliest Hollywood films to treat marital dissolution with emotional realism rather than moralizing or melodramatic excess.
Plot:  Sam Dodsworth, having sold his successful automobile company, retires “early” (mid-50’s) and takes his wife Fran on a long promised grand European tour.  Sam is resistant, but hopes for shared adventure;  Fran hopes for reinvention.  Actually, she hoping it will somehow stop her from aging.  As they travel from London to Paris to Vienna, Fran becomes increasingly infatuated with the attention of younger, more cosmopolitan men.  Sam, bewildered but patient, tries to accommodate her restless vanity.  Their marriage fractures as Fran pursues flirtations and then outright affairs, insisting she needs “life” and “youth” more than the stability Sam offers.  Sam, wounded but dignified, eventually meets Edith Cortright, an American expatriate living quietly in Italy.  Her warmth and grounding contrast sharply with Fran’s insecurity and pretension.  When Fran’s final attempt at remarriage collapses under the weight of her own deceptions, she begs Sam to return.  The film’s climax hinges on whether Sam will resume the life he knows or embrace the possibility of a new one.  In fact, he appears to choose both.
So, is this movie any good?  How’s the acting?  The filming / FX?  Any problems?  And, did I enjoy the film?  Short answers:  Yes;  superb;  elegant and restrained;  a few;  absolutely.
Any good?  Yes.  “Dodsworth” is a surprisingly modern-feeling drama about aging, ego, and emotional honesty.  Its power lies in understatement:  the film trusts its audience to understand the quiet devastation of a failing marriage without resorting to theatrics.  It’s a mature film for mature viewers — and that’s meant as a compliment.
Acting:  I have no prior viewing experience with most of this cast.  In receiving a Best Actor nomination for this role, Walter Huston delivers what might be a career-defining performance as Sam Dodsworth.  His portrayal is layered:  proud yet vulnerable, bewildered yet dignified.  Ruth Chatterton’s Fran is almost equally compelling — infuriating and painfully recognizable as someone terrified of becoming “considered” old.  Mary Astor brings warmth and intelligence to Edith, grounding the film’s emotional arc.  Even the smaller roles (including a young David Niven) add texture.  The ensemble is uniformly strong, but Huston’s quiet heartbreak is what you remember.
Filming / FX:  Wyler’s direction is clean and unobtrusive, letting the performances carry the emotional weight.  The cinematography by Rudolph Maté uses framing and shadow to emphasize emotional distance, particularly between Sam and Fran.  The production design — which won the film its Oscar — convincingly evokes European sophistication without overwhelming the story.  There are no “effects” in the modern sense, but the film’s visual restraint is part of its strength:  it feels intimate, lived-in, and emotionally believable.
Problems:  A few.  Fran’s character, while psychologically rich, frequently / repeatedly veers into shrillness.  It’s difficult to say if this may be more a reflection of the era’s acting conventions or a flaw in the writing.  Some supporting characters appear briefly and vanish just as quickly, leaving their arcs feeling underdeveloped.  For me, the main issue was the sound of music occasionally overpowered the sound of dialogue making it difficult to hear what was being said.  The second big issue was it was just hard for me to believe the couple had been married for 20 years and this was the “out-of-the-blue” indication Fran Dodsworth has shown that she is insufferably insecure about her age.  I went along with it for the movie, but it was too much to believe and in the end, I was just waiting for her to get her comeuppance.
Did I enjoy the film?  Absolutely.  “Dodsworth” is a grown-up film about grown-up problems — a rarity in any era.  I found it emotionally honest, beautifully acted, and surprisingly moving.  It’s the kind of film you’ll think about after the credits roll.
Final Recommendation:  Strong recommendation.  “Dodsworth” is a landmark of mature Hollywood storytelling — historically significant for its Oscar recognition, its literary pedigree, and its nuanced treatment of marital disintegration.  Watch it for Walter Huston’s extraordinary performance, Wyler’s restrained direction, and the film’s timeless exploration of pride, aging, and second chances.  It’s not a flashy film, but it is a deeply human one — and well worth your time.
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Click here (24 January) to see the posts of prior years.  I started this blog in late 2009.  Daily posting began in late January 2011.  Not all of the days in the early years (2009-2010) will have posts.

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