DODSWORTH (1936) B/W 101m dir: William Wyler

w/Walter Huston, Ruth Chatterton, Paul Lukas, Mary Astor, David Niven, Gregory Gaye, Maria Ouspenskaya (American film debut), Odette Myrtil, Spring Byington, Harlan Briggs, Kathryn Marlowe, John Payne (film debut)

From The Movie Guide: "A film of maturity, intelligence, and understanding. Huston, repeating his popular stage role, plays reserved auto mogul Sam Dodsworth, who retires to enjoy his middle age at the prompting of his wife Fran (Chatterton). Traveling in Europe, the unsophisticated Midwesterners have completely opposite reactions to the Continental milieu: while Sam soon gets bored, Fran aspires to become a woman of the world. Embarrassed by her flirtation with a roué (Niven) and hurt by her encounter with a more subtle adventurer (Lukas), Fran doesn't learn from her failures. She finally asks Sam for a divorce in order to marry a young but mother-dominated baron (Gaye). Sam, meanwhile meets a kindly widow (Astor) with whom he finds he might salvage his happiness. But the longtime romance of Sam and Fran must be dealt with first.

"The direction of the autocratic Wyler sensitively plots a tale of marital problems, middle age, and the Ugly American abroad. Huston was never better than in this magnificent performance of a simple man whose blissful world disintegrates. His effortless acting was so splendidly moving that he was voted Best Actor by the NY Film Critics. (With their typical fondness for showy acting, however, Oscar voters cited Paul Muni in THE STORY OF LOUIS PASTEUR.) Chatterton, too, is superb in a role she wanted to play as a total heavy. Wyler, though, was wisely able to temper this portrait of a selfish, shallow woman with great insight. Chatterton's sometimes theatrical emoting perfectly suits her rich study of a woman playacting her way through life. The low-key scenes between Huston and Chatterton are warm and tender, while their arguments are positively blistering. The support includes gems from Lukas, Niven, Gaye, Ouspenskaya, Myrtil, and Byington, but it is really Astor who equals the stars with a performance of consummate artistry."

From The Film Foundation website (www.film-foundation.org), this article about the 2020 Blu-ray release of the film:

"An incisive examination of a disintegrating marriage and a top-flight production from beginning to end, Dodsworth stands as one of the best films of the 1930s. Director William Wyler's literate, absorbing adaptation of Sinclair Lewis's acclaimed novel paints a host of vivid character portraits while telling a timeless tale that addresses relatable themes. Walter Huston, Ruth Chatterton, and Mary Astor all contribute memorable performances, and a stunning restoration by the Academy of Motion Picture Arts and Sciences and The Film Foundation distinguishes Warner Archive's Blu-ray presentation, which comes very highly recommended.

"Though they battled and bickered and butted heads for a decade, producer Samuel Goldwyn and director William Wyler forged one of the most fruitful creative partnerships in Hollywood history. This dynamic duo collaborated on seven prestigious films between 1936 and 1946, beginning with These Three (a code-friendly version of Lillian Hellman's controversial play The Children's Hour) and culminating with the Oscar-winning World War II homecoming classic The Best Years of Our Lives. In between, they mounted such unforgettable dramas as Dead End, Wuthering Heights, The Little Foxes, and a potent adaptation of Sinclair Lewis's acclaimed novel Dodsworth.

"Far from flashy, yet packed with relatable themes and insightful observations about marriage, society, and aging, Dodsworth often flies under the radar in discussions of top Golden Age films. Maybe the story's focus on middle-aged characters awash in personal turmoil limits its appeal, but once you dive into this absorbing drama, you'll see why it stands out among its cinematic peers. More substantive and nuanced than most 1930s films, Dodsworth also boasts impeccable direction and performances, a literate script, and elegant production values, all of which help make it one of era's most enduring motion pictures.

"As the movie opens, Sam Dodsworth (Walter Huston) wistfully bids farewell to a successful career as an automobile magnate. A lucrative merger sends him into retirement, and to kick off his new life of leisure, he and his wife of 25 years, Fran (Ruth Chatterton), embark on a lengthy European tour. The couple hails from Ohio, so hobnobbing among the snooty, cosmopolitan elite on their transatlantic cruise makes them feel a bit like fish out of water. Fran, though, quickly adapts and embraces the high-toned, frivolous lifestyle, flitting from party to party and flirting with an array of wealthy lotharios. Sam indulges her, but prefers the quieter pursuits of typical tourists. Soon, friction creeps into the Dodsworth marriage, and after a month in Paris, that friction becomes a rift.

"The harder Sam tries to reel Fran back in, the more stridently she strays. Though she seems committed to her marriage in the long run, Fran wants one last fling while she's still young enough to enjoy it. 'You're rushing at old age, Sam, and I'm not ready for that yet!' she snaps. Her fear of getting older and losing her looks makes her especially vulnerable to the attentions of dashing suitors who may or may not have honorable intentions. As he and Fran drift further apart, an increasingly lonely and melancholic Sam reconnects with Edith Cortright (Mary Astor), a free-spirited American expatriate living in Italy, and discovers just how different two women can be.

"Most 1930s romances chronicle gooey young love or illicit affairs, but Dodsworth begins long after those movies end, making it instantly unique. Much like last year's Marriage Story, it paints a brutal portrait of a couple in crisis, and how their diverging interests, differing goals, and evolving personalities reveal problems in their relationship that most likely existed all along. Sam and Fran's 25-year union may seem road-tested and able to weather any potential storm, but due to his obsession with work and her domestic duties, they've never really spent much time together. Once they embark on their European odyssey, their respective personal journeys begin as well, and it's not long before both Sam and Fran begin to realize how little they have in common.

"Drama transpired behind the scenes as well. Chatterton, who was nearing the end of a brief yet successful film career and ironically grappling with the same fear of waning youth as Fran, fought bitterly with Wyler over the interpretation of her role. She wanted to play Fran as an unadulterated bitch, while he demanded a more dimensional portrayal. Wyler prevailed, of course, and Chatterton's performance is much the better as a result. Though she deserved an Oscar nomination, sadly, she was snubbed.

"Astor faced even more difficulties. Embroiled in a bitter child custody battle with her ex-husband, who threatened to expose her secret diary that supposedly contained explicit details of an extramarital affair with playwright George S. Kaufman, the actress toiled on the Dodsworth set during the day, then went directly to specially scheduled court proceedings in the early evening. The scandal was front-page news all over the nation for weeks, yet Astor never cracked under the pressure. Her relaxed, disarmingly natural performance is a tribute to her mettle and professionalism, and the part of Edith Cortright just might have saved her career. In her autobiography, My Story, Astor writes, 'The character I played was a charming and gracious woman; the public could not match her with the luridly immoral woman the tabloids had painted.'

"Huston had played Sam Dodsworth on Broadway to great acclaim a couple of years earlier, and his film portrayal earned similar plaudits. The New York Film Critics Circle named him the year's Best Actor, and he nabbed an Oscar nod as well. Gruff yet tender, rigid yet indulgent, and always bound by a warped sense of duty, his Dodsworth is a fascinating, flawed, utterly human figure, and Huston --- one of America's finest actors --- brings him brilliantly to life.

"Huston, Chatterton, and Astor, though, form only the tip of the cast iceberg. Paul Lukas, a young David Niven, Spring Byington, and Miracle on 34th Street's John Payne (billed here as John Howard Payne) in his film debut also contribute strong work. And then there's the always mesmerizing Maria Ouspenskaya, who received a Best Supporting Actress Oscar nomination in her first American film for her all-too-brief appearance as a dour and intimidating Austrian baroness who makes mincemeat of Fran. (In all, Dodsworth garnered seven Academy Award nominations, including Best Picture, Director, and Screenplay, and took home the prize for Best Art Direction.)

"Dodsworth was a rarity in its day --- a perceptive, sophisticated, and refreshingly adult film that didn't kowtow to Hollywood conventions. It may be a period piece today, but its themes remain relatable and its tone still feels contemporary 84 years after its initial release. Some things change, but marriage doesn't, and this timeless take on the imperfect institution continues to strike a chord, a nerve, and the fancy of discriminating movie fans. ...

"Dodsworth may not enjoy the same degree of renown as some Golden Age classics, but it remains one of the most adult, literate, and substantive films of the 1930s. Despite its age, director William Wyler's brilliant adaptation of Sinclair Lewis's novel tells an eminently relatable story that makes cogent observations about marriage, aging, and class. Terrific performances from Walter Huston, Ruth Chatterton, and Mary Astor distinguish this absorbing drama, while a truly stunning restoration brings this timeless tale and Best Picture nominee to life like never before."

DODSWORTH received an Oscar for Best Art Direction (Richard Day). It was also nominated for Best Picture, Director, Actor (Huston), Supporting Actress (Ouspenskaya), Adapted Screenplay (Sidney Howard, from the novel by Sinclair Lewis), and Sound (Oscar Lagerstrom).