The Heiress is a magnificent film that defies 1940s Hollywood logic…the woman and man do not walk into the sunset hand-in-hand. Actually, what is even more defiant for a film of this era is a woman having power over a man. Yes, 1940s were the days of the powerful woman in Hollywood: Bette Davis, Joan Crawford, Barbara Stanwyck, etc. But, the films those women were in were mostly about tough ladies who needed the love of a good man to set them straight. The Heiress is nothing like that. The film begins by setting the stage that shy, naïve Catherine Sloper (Olivia de Havilland), the wealthy daughter of a stern New England doctor, played beautifully by Sir Ralph Richardson, will probably never marry. Catherine is plain, timid, and lacks what, as her father claims, men look for in future wives…aside, of course, from her money. Enter Montgomery Clift’s Morris Townsend, who takes a liking to Catherine but her father disapproves and believes Townsend is just an opportunist. By now I’m sure you’re wondering where the “powerful” woman enters the picture. Well, Catherine learns quite a few life lessons over the course of the film and in the end she is a strong, confident woman who knows exactly what she wants and doesn’t want. Even though George Cukor was known in Hollywood circles as being the best “ladies director,” I feel that director William Wyler gives Cukor tough competition here and with some of his other movies (Roman Holiday, Mrs. Miniver, Jezebel, Funny Girl , etc.). This film is a tour de force for de Havilland (she won the Oscar), but Wyler’s brave direction increases both the power of Catherine and the tone of the whole film.

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One of the most romantic films ever put on celluloid; this film has been copied, remade, emulated, talked about and cried over since its release. The story originated as Love Affair, a 1939 film directed by Leo McCarey and starring Irene Dunne and Charles Boyer. Then came this 1957 film, re-directed by McCarey. Then came Sleepless in Seattle, which was a pseudo-remake, followed by 1994’s Love Affair, which was back to being a traditional remake…just updated for the latter part of the 20th Century. Why all of these retellings? Well, it’s a good story and as close to a perfect romance as you can get. There’s everything here…comedy, tragedy, high drama, passion, sex appeal, tears, etc. Out of all of the versions, this one reigns supreme. Why? Two words: Cary Grant. Not to slight Deborah Kerr. She’s excellent here, but come on. It’s Cary Grant.

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