- ► 2018 (98)
- Claude Chabrol | La Demoiselle d'honneur (The Brid...
- Zaza Urushadze | მანდარინები (Mandariinid) Tangeri...
- Wong Kar-wai | 旺角卡門 (Wàngjiǎo Kǎmén) (As Tears Go...
- Alexander Korda | An Ideal Husband
- Mark Robson | The Inn of the Sixth Happiness
- Edmund Goulding | The Old Maid
- Jean Renoir | Le Crime de Monsieur Lange (The Crim...
- Michael Cacoyannis | The Cherry Orchard
- Julien Duvivier | Lydia
- Louis Malle | Vanya on 42nd Street
- Max Ophüls | Le Plaisir (House of Pleasure)
- Michelangelo Antonioni | I Vinti (The Vanquished)
- Edmund Goulding | Grand Hotel
- Alexander Korda | The Wedding Rehearsal
- Jaco van Dormael | Le tout nouveau testament (The ...
- ▼ May (15)
- ► 2016 (172)
- ► 2015 (127)
- ► 2014 (118)
- ► 2013 (124)
- ► 2012 (147)
- ► 2011 (134)
Wednesday, May 10, 2017
Julien Duvivier | Lydia
love lost and forgotten
by Douglas Messerli
Ben Hecht, Samuel Hoffenstein, André De Toth (uncredited) (based on the Duvivier film, Un Carnet de Bal) Julien Duvivier (director) Lydia / 1941
The story itself is rather static in its structure, although Duvivier’s beautiful imagery takes it down various different lanes. An elderly beauty, Lydia MacMillan (Oberon), has become famous for the school for the blind which she has founded years before, and one of her old beau’s, Michael Fitzpatrick (Cotton) decides to revisit her after decades. Lydia, now a decided spinster, is delighted by his visit and agrees to a dinner date a few nights later.
As a surprise Fitzpatrick invites all of her former lovers—most of whom have asked her to marry them—to dinner as well. They include a rambunctious former football player, Bob Willard (George Reeves); a blind pianist who has worked with her at the school and composed a piano and orchestral piece in her honor, Frank Andry (Hans Jaray); and, arriving late, the real love of her life, Richard Mason (Alan Marshal). Over drinks the now reflective and quite witty Boston beauty recounts their loves and why she has turned down their marital offers. What becomes clear in the process is that, although she has loved Mason, Fitzpatrick might have been the best man for her. But, as she herself perceives, in her youthful willfulness she was not a coherent being.
In short, Lydia is long on talk and chronology, yet Duvivier’s sweeping camera (something he shares with Max Ophuls), the stunning sets at the McMillan mansion, the several dance halls (Willard and Lydia remember a unreal version of reality with dozens of harps), and the seaside cottage, along with the costumes and the wit of Ben Hecht’s and Samuel Hoffenstein’s script (particularly as delivered by Lydia’s grandmother (Oliver), make this an absolutely enchanting 140 minutes which is so much better than most of today’s Hollywood films that one longs again to return to the period of the studio star-system. Having just watched Oberon early on in career in Wedding Rehearsal and never having been able to forget her from Wuthering Heights, I’ve now become a great Oberon fan, although I do wish she’d been offered more remarkable roles; in this she most resembles the great Bette Davis, even though her gown is not red, but only pink (again in black-and-white). And I now feel that Joseph Cotton never played in a truly bad movie—at least until the 1950s (he performed in Citizen Kane the very same year as Lydia, and followed this film up with The Magnificent Ambersons and Shadow of a Doubt in the very next two years). Before he died, he sent my Sun & Moon Press the manuscript of his autobiography in the late 1980s, which was published by another press as Vanity Will Get You Somewhere. I wish I’d grabbed it up, but I seem to remember that the title turned me off, and I surely felt that we couldn’t pay enough to obtain the rights.
Cotton and Oberon, along with Duvivier’s fluid camera, should send everyone back to Lydia for another or first look.
Los Angeles, May 10, 2017