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The House of the Seven Gables (film)
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The House of the Seven Gables
Directed by
Joe May
Produced by
Burt Kelly (assoc. producer)
Written by
Harold Greene (treatment)
Screenplay by
Lester Cole
Starring
George Sanders
Margaret Lindsay
Vincent Price
Music by
Frank Skinner
Cinematography
Milton R. Krasner
Production
company
Universal Pictures
Distributed by
Universal Pictures
Release date
February 29, 1940 (1940-02-29) (Chicago, Illinois)
April 12, 1940 (1940-04-12) (United States)
Running time
89 minutes
Country
United States
Language
English
Budget
$161,625
The House of the Seven Gables is a 1940 Gothic drama film based on the novel of the same name by Nathaniel Hawthorne. It stars George Sanders, Margaret Lindsay, and Vincent Price, and tells the story of a family consumed by greed in which one brother frames another for murder. It is a remake of the 1910 film of the same name, which starred Mary Fuller. The film's musical score was nominated for the Academy Award for Best Original Score. The plot of the film differs dramatically from the plot of the novel on which it is based.
Contents
1 Plot
2 Cast
3 Production
3.1 Producer and script writing
3.2 Production and casting
3.3 Directing and acting
4 Premieres and reception
4.1 Premieres
4.2 Reception
5 Price remake
6 References
7 Bibliography
8 External links
Plot[edit]
In the late 17th century, Colonel Jaffrey Pyncheon, falsely accused a poor carpenter, Matthew Maule, of witchcraft. Maule was hanged. Pyncheon took his land and built the luxurious Pyncheon home on it. But Maule cursed the Pyncheons, and the colonel soon died. The family has lived during the next 160 years desperately afraid of the "Maule curse".
In the mid-19th century, Col. Pyncheon's great-great grandson Jaffrey Pyncheon (George Sanders) is a lawyer just embarking on his career. His elder brother, Clifford (Vincent Price), lives at home with their father, Gerald Pyncheon (Gilbert Emery). Jaffrey is obsessed with legends that say a vast sum of money is hidden in the Pyncheon house. Jaffrey is summoned to his father's home when Clifford informs him that the house is to be sold to pay his father's debts. Jaffrey, terrified at losing the lost treasure, pries up floorboards and searches in the walls at night for the lost gold. Clifford, however, doesn't believe the family stories. He wants to marry his cousin, Hepzibah Pyncheon (Margaret Lindsay), sell the house, and move to New York City.
When Gerald decides not to sell the house after all, Clifford and his father argue violently. Gerald dies of a heart attack, and strikes his head as he falls. Jaffrey, knowing Clifford is innocent, nonetheless accuses him of murder. Clifford is convicted and imprisoned, but renews "Maule's curse" upon Jaffrey before being led away. Gerald's will gives all three children sizeable yearly incomes, but leaves the house to Hepzibah. Hepzibah throws Jaffrey out of the house and seals all the doors and windows so that no light can be admitted. Over the next two decades, she rarely leaves her home.
In 1841, Clifford is given a new cellmate, who identifies himself as Matthew Maule (Dick Foran). He and Clifford become close friends. Maule is shortly released, and takes the name "Holgrave." An abolitionist, he rents a room from Hepzibah Pyncheon. Shortly thereafter, a distant cousin dies and Hepzibah takes in the cousin's daughter, Phoebe Pyncheon (Nan Grey). Desperate for money, Hepzibah opens a small shop in a room of her home. With the beautiful, vivacious Phoebe running the shop, it is a success and earns her much money.
The governor releases Clifford from prison, who returns to the Pyncheon house. "Holgrave" spreads rumors about town that Clifford has been poring over old documents, has found a secret stairway in the house, and is tearing up the Pyncheon home in search of the long-lost treasure. Jaffrey has invested money from wealthy abolitionists in risky investments involving the slave trade. Realizing he might be able to seize control of the house, Jaffrey uses these rumors to accuse Clifford of insanity. Jaffrey visits the house, and hears banging — which he assumes is Clifford searching for the gold. Jaffrey leaves, triumphant. Hepzibah discovers that Holgrave is making these noises, and evicts him from the house despite the protests of Phoebe (who is in love with him). A worried Hepzibah then searches Holgrave's room and discovers he is really Matthew Maule. She warns Clifford, who admits that he has known all along who Holgrave is and that Holgrave is part of his plan to clear his name.
Jaffrey visits the house and tells Clifford that he intends to have him committed. Clifford responds by asking Jaffrey to sign a document that clears Clifford's name. Jaffrey refuses. Deacon Arnold Foster (Miles Mander), who loaned Jaffrey the investment funds, arrives and demands the money back. Jaffrey refuses. The deacon goes into the hallway and commits suicide. Hepzibah accuses Jaffrey of murder. Panicking, Jaffrey signs the document and tells Clifford that he can have the lost treasure so long as Clifford does not accuse him of murder. Clifford admits that there is no hidden staircase and no gold. It's all been a trick on Jaffrey, played by Clifford and Matthew Maule.
Hearing the name of Maule, Jaffrey collapses dead. With Clifford's name cleared, he marries Hepzibah and Maule marries Phoebe. They restore the house, and put it up for sale.
Cast[edit]
George Sanders as Jaffrey Pyncheon
Margaret Lindsay as Hepzibah Pyncheon
Vincent Price as Clifford Pyncheon
Dick Foran as Matthew Maule
Nan Grey as Phoebe Pyncheon
Cecil Kellaway as Philip Barton
Alan Napier as Fuller
Gilbert Emery as Gerald Pyncheon
Miles Mander as Deacon Arnold Foster
Charles Trowbridge as Judge
Production[edit]
The House of the Seven Gables was first filmed by Edison Studios in 1910. This version, which is now lost, starred Mary Fuller.[1] Republic Pictures announced a remake in 1935, but it went into development hell and was never made.[2]
Producer and script writing[edit]
Universal Studios began planning its remake of The House of the Seven Gables probably in early 1939. Pre-production for the film was secretive, as the studio feared that other companies with more financial resources might rush a House of Seven Gables into production before Universal could finish its version.[2] The studio wanted the picture to be a low-budget B film, which would be released as a double feature with another B film.[3] It was budgeted at a low $152,625 ($2,685,178 in 2017 dollars),[3] but was still considered one of Universal's "prestige" horror films.[4][a]
Screenwriter Lester Cole says it was unclear why Universal chose to make the film, although it may have been because the book was in the public domain.[6][b] Film historian Don G. Smith, however, argues for an economic reason: Horror films were popular again. A national outcry against the gruesomeness of the 1935 film The Raven had convinced Universal Studios executives to place a ban on the production of horror films at the studio. But a New York City movie theater ran a triple-bill of Dracula, Frankenstein, and Son of Kong in 1938, and ticket sales were so strong that the theater ran the films 21 hours a day. Universal swiftly lifted its ban, and began production on a series of horror pictures: Son of Frankenstein, Sherlock Holmes and the House of Fear (aka The House of Fear), Black Friday, The Invisible Man Returns, The Mummy's Hand, The Invisible Woman, and The House of the Seven Gables.[7]
Universal announced it would begin work on The House of the Seven Gables on October 10, 1939.[8] The studio assigned one of its B-picture producers, Burt Kelly, to oversee the production.[6] Kelly had an extensive background in theater, and had held a number of associate producer and producer positions at various studios.[9] Universal also assigned one of its young staff writers, Harold Greene, to produce a treatment of the novel.[6] Kelly had his choice of whom to hire as screenwriter, however, and he chose Lester Cole.[6] Kelly had worked with Cole on a number of films, and film historian Bob Herzberg suggests that Kelly held progressive views which were shared by Cole (who openly held communist political views).[10] Kelly, who Cole felt had "a real feeling for film and decent human instincts",[11] was also a loyal friend of Cole's.[6] Universal Studios initially balked at Kelly's decision because Cole's salary was $600 a week ($10,556 in 2017 dollars), but Kelly insisted and the studio gave in.[6]
The lengthy novel by Nathaniel Hawthorne needed extensive cutting to turn it into a filmable script. Cole substantially cut much of the beginning of the novel, and altered a good deal of the plot—remaining faithful to the spirit of the novel if not its actual narrative.[12] But Cole did more than adapt the novel. He purposefully injected extensive left-wing political views into the script. He turned the character of Matthew Maule/"Holgrave" into an abolitionist, and depicted capitalists like Jaffrey Pyncheon and Arnold Foster as illegal slave-traders.[13][14] He also greatly sharpened Hawthorne's critique of materialism, and depicted the punishment for greed coming not from God (as Hawthorne did) but from moral and freedom-loving people.[14] Film historian Lawrence Raw has argued that Cole, and to a lesser extent Greene, also wanted the story to attack authoritarianism. Cole in particular was deeply aware of the wave of fascism and dictatorship sweeping across Europe in the 1930s, and Raw argues that Cole transformed the film into a "propaganda piece" in which Jaffrey Pyncheon was a metaphor for governmental tyranny.[3] Film historian and literary critic Thomas S. Hischak has argued that the final script ended up less about the novel and more about "variations on a theme by Hawthorne".[15]
Production and casting[edit]
The film's low budget meant only modest production values.[15] Nevertheless, production designer Jack Otterson went to Salem, Massachusetts, to take photographs and measurements of the Turner-Ingersoll Mansion (the inspiration for the House of the Seven Gables in Hawthorne's novel). A facade of the House of the Seven Gables was constructed on the Colonial Street backlot at Universal Studios[16] (it remained standing into the 21st century).[17] Interiors took up three soundstages at Universal Studios, with the primary sets representing the Seven Gables living room, lower hallway, and upper hallway.[16] Props included more than 500 pieces of authentic early American tableware, kitchen pots, and kitchen utensils.[16] Jack Pierce, makeup artist famous for his work in Universal's horror movies of the 1930s, came up with the makeup design for the lead performers (who age two decades or more during the course of the picture).[18]
Universal Studios tested Margaret Lindsay for the role of Hepzibah Pyncheon on December 27, 1939.[19][c] Robert Cummings was originally cast as Clifford Pyncheon about December 28,[21] but he fell ill the following day and was forced to leave the production.[18][22][23][d] Price was cast most likely because he had forged a good working relationship with Kelly and May in October 1939[25] while working on The Invisible Man Returns.[26][27] The studio announced Price's and Lindsay's casting, along with those of Nan Grey and George Sanders, on December 29. Studio publicists noted that the role of Matthew Maule remained unfilled.[22][28]
The Los Angeles Times reported that principal photography was to have begun about December 24,[29] but cameras did not begin rolling until December 29, 1939.[30] The production shut down the same day due to casting problems and set construction delays.[2] One of the problems was the height of the lead actors: Studio carpenters made the set for the average actor's height of 5 feet 9 inches (175 cm), but Price (6 feet 4 inches (193 cm)) and Sanders (6 feet 2 inches (188 cm)) were too tall. Doorway lintels and ceilings were quickly raised.[25] Shooting resumed on January 3.[2] The production was already three days behind schedule on January 5 due to problems with the period costumes, lighting, and the time-consuming aging makeup,[2] and rain had delayed exterior shooting at the Seven Gables House.[2]
Additional casting decisions were announced on January 4. Alan Napier, who had forged a deep friendship with Joe May on The Invisible Man Returns as well, was cast as the postman, Fuller.[31][32] Dick Foran was cast as Matthew Maule and Gilbert Emery as Gerald Pyncheon that same day.[32] Hiring for the major roles was not resolved until January 12, 1940, when the studio announced the casting of Cecil Kellaway and Charles Trowbridge.[33] The following day, Universal announced that a song, "The Color of Your Eyes" (music and lyrics by Ralph Freed and Frank Skinner), had been added to the picture, and would be sung by Vincent Price.[34] Additional delays occurred when airplanes flying over the set disrupted more exterior filming in mid January.[2] Universal now began to put pressure on director Joe May to speed up the production.[2] May did so, and by January 24 Trowbridge had finished all his scenes and had moved on to his next picture. The same day, Miles Mander was cast in the role of Arnold Foster.[35] By working into the night (ten times between January 12 and the end of principal photography, the production did not break until 10 o'clock in the evening) the production was able to end in late January[30] after 23 days of shooting (just two days over budget).[2]
The film's final cost was $161,625.[2][3]
Directing and acting[edit]
Joe May was hired as director because he'd helmed a series of Universal horror films in 1939, all of which had done well at the box office.[4] May's background significantly influenced the film. He had fled his native Austria in 1934 due to the rise of Austrofascism,[4] and became a contract director at Universal.[36] May saw The House of the Seven Gables as a metaphor for opposing fascism and celebrating freedom of thought.[37] But his background influenced the film in other ways, too. Alan Napier[38] and Vincent Price[25] both said that May had a heavy German accent, and had difficulty making himself understood in English.[18] This hampered May's ability to direct his actors, and the studio ordered screenwriter Lester Cole to act as dialogue director.[18]
Coming out of the German and Austrian film tradition, May was well versed in German Expressionism, and he introduced visual elements of this genre to the film. In one example, when Hepzibah descends the staircase, she casts a stark shadow against the wall. This is a visual doppelgänger, indicating that the character has two aspects which will be revealed in the film (the happy, youthful girl and the bitter, repressed spinster). May also used mise-en-scène, such as window panes or shadows, to show that the characters are trapped by Seven Gables or by circumstance.[18]
George Sanders, a notoriously quick-witted individual with a cruel streak,[39] did not get along with director Joe May, and Sanders ridiculed him openly.[27] Alan Napier also said he had a poor on-set relationship with Sanders, who vociferously disliked Napier's good friend Anne Froelick.[38] Film historians Tom Weaver, Michael Brunas, and John Brunas alleged that Price and Sanders also feuded on the set.[39] But Price himself denied that he had a poor relationship with Sanders. Price later wrote that Sanders was "a dear and wonderful man. I knew him really intimately, and was very, very fond of him. He only pretended to be a dreadful man".[27]
Premieres and reception[edit]
Premieres[edit]
The House of the Seven Gables premiered in Chicago, Illinois, on February 29, 1940,[40] along with Black Friday. Vincent Price and Bela Lugosi, stars of the respective films, were in attendance.[2][e] The film went into general release on April 12, 1940,[30] the same day it made its New York City premiere.[41]
Reception[edit]
The film was released to generally good reviews in the press.[13] Lester Cole felt the script was one of the best he ever wrote,[14] and later said that few reviewers made note of the extensive plot revisions he had made.[42] Price and Sanders, both relative unknowns at the time, delivered good performances which boosted their careers significantly.[15][43] Film historian Thomas S. Hischak said Margaret Lindsay was also very good as Hepzibah Pyncheon.[15] Composer Frank Skinner received a nomination for the Academy Award for Best Original Score.[44]
The film's reputation suffered in the 1950s. During the Second Red Scare of 1947 to 1957, Universal Studio executives criticized the film because, they said, Kelly and Cole had injected radical politics into the script and the directing.[13]
Modern critics give mixed reviews to the picture. Vincent Price biographer Denis Meikle has called the film "overly sentimental", and criticized the aging make-up as not very good.[45] He thought the movie was suspenseful, but also typical of the "mild" and "inoffensive" period pictures of the era.[23]
Price remake[edit]
The novel The House of the Seven Gables served as the basis of one of three stories in the 1963 anthology horror film Twice Told Tales. The story, which departs significantly from both the book and the 1940 film, has Vincent Price portraying "Gerald Pyncheon" (a composite character)—a murderer who meets a supernatural end.[18]
References[edit]
Notes
Jump up ^ In contrast a major motion picture at Universal was often budgeted at anywhere from $850,000 to $1.1 million.[5]
Jump up ^ Cole also suggests that the studio wanted the picture as a vehicle for Vincent Price, who had recently made a widely praised appearance in the Burt Kelly produced and Lester Cole written The Invisible Man Returns.[6] But since Price was not initially cast in The House of the Seven Gables, Cole's surmise seems unlikely.
Jump up ^ The studio apparently liked Lindsay's performance in the picture that it gave her a five-year contract in March 1940.[20]
Jump up ^ Given the tight production schedule, the studio appears to have decided not to wait for Cummings to recover. Cummings was not assigned to a picture until January 22, 1940, indicating that he may have been ill for up to a month.[24]
Jump up ^ Black Friday began principal photography on December 28, 1939, about the same time as The House of the Seven Gables.[21] The similar production schedules may be why they were paired in release.
Citation
Jump up ^ Hischak 2012, p. 95.
^ Jump up to: a b c d e f g h i j k Weaver, Brunas & Brunas 2007, p. 228.
^ Jump up to: a b c d Raw 2008, p. 18.
^ Jump up to: a b c Senn 2006, p. 447.
Jump up ^ Raw 2008, p. 24-25, fn. 2.
^ Jump up to: a b c d e f g Cole 1981, p. 172.
Jump up ^ Smith 1996, p. 32.
Jump up ^ Churchill, Douglas W. (October 11, 1939). "Screen News Here and In Hollywood". The New York Times. p. A37.
Jump up ^ Gordon 1999, p. 20.
Jump up ^ Herzberg 2011, p. 154.
Jump up ^ Cole 1981, p. 145.
Jump up ^ Dick 1990, p. 183.
^ Jump up to: a b c Krutnik 2008, p. 255.
^ Jump up to: a b c Booker 1991, p. 77.
^ Jump up to: a b c d Hischak 2012, p. 96.
^ Jump up to: a b c Weaver, Brunas & Brunas 2007, p. 227.
Jump up ^ Sandler 2006, p. 168.
^ Jump up to: a b c d e f Doll, Susan (2016). "The House of the Seven Gables (1940)". Turner Classic Movies. Retrieved February 28, 2016.
Jump up ^ Churchill, Douglas (December 28, 1939). "Screen News Here and In Hollywood". The New York Times. p. 17.
Jump up ^ "Margaret Lindsay in Hawthorne Film". The Washington Sunday Star. March 3, 1940. p. 68.
^ Jump up to: a b Churchill, Douglas W. (December 29, 1939). "Screen News Here and In Hollywood". The New York Times. p. A11.
^ Jump up to: a b Churchill, Douglas W. (December 30, 1939). "Screen News Here and In Hollywood". The New York Times. p. A9.
^ Jump up to: a b Meikle 2003, p. 20.
Jump up ^ Churchill, Douglas W. (January 22, 1940). "Screen News Here and In Hollywood". The New York Times. p. A17.
^ Jump up to: a b c Price 1999, p. 102.
Jump up ^ Parish & Whitney 1974, p. 49.
^ Jump up to: a b c Eisner 2013, p. 26.
Jump up ^ Schallert, Edwin (December 30, 1939). "Price and Lindsay Win 'Seven Gables' Leads". Los Angeles Times. p. A7.
Jump up ^ Schallert, Edwin (December 23, 1939). "Screen". Los Angeles Times. p. A8.
^ Jump up to: a b c "The House of the Seven Gables". AFI Catalog of Feature Films. 2015. Retrieved February 28, 2016.
Jump up ^ Napier & Bigwood 2015, pp. 189, 191.
^ Jump up to: a b Schallert, Edwin (January 5, 1940). "'Bonne Chance' Next on Ginger's Schedule". Los Angeles Times. p. A17.
Jump up ^ Churchill, Douglas (January 13, 1940). "Screen News Here and In Hollywood". The New York Times. p. 16.
Jump up ^ Schallert, Edwin (January 12, 1940). "Brian Donlevy Offered 'Barney Barnato' Lead". Los Angeles Times. p. A13.
Jump up ^ Scheuer, Philip K. (January 25, 1940). "Abbott Stage 'Find' Signed by Paramount". Los Angeles Times. p. A8.
Jump up ^ Raw 2008, p. 25, fn. 4.
Jump up ^ Raw 2008, pp. 18, 23-24.
^ Jump up to: a b Napier & Bigwood 2015, p. 191.
^ Jump up to: a b Weaver, Brunas & Brunas 2007, pp. 226-227.
Jump up ^ Raw 2008, p. 25, fn. 3.
Jump up ^ "News of the Screen". The New York Times. April 13, 1940. p. 23.
Jump up ^ Cole 1981, pp. 172-173.
Jump up ^ Price 1999, p. 103.
Jump up ^ Kinn & Piazza 2014, p. 59.
Jump up ^ Meikle 2003, p. 19.
Bibliography[edit]
Booker, M. Keith (1991). Film and the American Left: A Research Guide. Westport, Conn.: Greenwood Press. ISBN 9780313309809.
Cole, Lester (1981). Hollywood Red: The Autobiography of Lester Cole. Palo Alto, Calif.: Ramparts Publishing. ISBN 9780878670857.
Dick, Barnard F. (1990). Anatomy of Film. New York: St. Martin's Press. ISBN 9780312019914.
Eisner, Joel (2013). The Price of Fear: The Film Career of Vincent Price in His Own Words. Antelope, Callif.: Black Bed Sheet Books. ISBN 9780988659025.
Gordon, Bernard (1999). Hollywood Exile, or, How I Learned to Love the Blacklist: A Memoir. Austin, Tex.: University of Texas Press. ISBN 9780292756403.
Herzberg, Bob (2011). The Left Side of the Screen: Communist and Left-Wing Ideology in Hollywood, 1929-2009. Jefferson, N.C.: McFarland & Co. ISBN 9780786444564.
Hischak, Thomas S. (2012). American Literature on Stage and Screen: 525 Works and Their Adaptations. Jefferson, N.C.: McFarland & Company. ISBN 9780786492794.
Kinn, Gail; Piazza, Jim (2014). The Academy Awards: The Complete Unofficial History. New York: Black Dog & Leventhal Publishers. ISBN 9781579129866.
Krutnik, Frank (2008). "Un-American" Hollywood: Politics and Film in the Blacklist Era. New Brunswick, N.J.: Rutgers University Press. ISBN 9780813541976.
Meikle, Denis (2003). Vincent Price: The Art of Fear. London: Reynolds & Hearn. ISBN 9781903111536.
Napier, Alan; Bigwood, James (2015). Not Just Batman's Butler: The Autobiography of Alan Napier. Jefferson, N.C.: Mcfarland & Co. ISBN 9781476662879.
Parish, James Robert; Whitney, Steven (1974). Vincent Price Unmasked. New York: Darke Publishing. ISBN 9780877496670.
Price, Victoria (1999). Vincent Price: A Daughter's Biography. New York: St. Martin's Press. ISBN 9780312242732.
Raw, Lawrence (2008). Adapting Nathaniel Hawthorne to the Screen: Forging New Worlds. Lanham, Md.: Scarecrow Press. ISBN 9780810860490.
Sandler, Corey (2006). Disneyland Resort, Universal Studios Hollywood, and Other Major Southern California Attractions Including Disney's California Adventure. Guilford, Conn.: Globe Pequot. ISBN 9780762738724.
Senn, Bryan (2006). Golden Horrors: An Illustrated Critical Filmography of Terror Cinema, 1931-1939. Jefferson, N.C.: McFarland & Co. ISBN 9780786427246.
Smith, Don G. (1996). Lon Chaney, Jr.: Horror Film Star, 1906-1973. Jefferson, N.C.: McFarland & Co. ISBN 9780786401208.
Weaver, Tom; Brunas, Michael; Brunas, John (2007). Universal Horrors: The Studio's Classic Films, 1931-1946. Jefferson, N.C.: Mcfarland & Co. ISBN 9780786491506.
External links[edit]
The House of the Seven Gables on IMDb
The House of the Seven Gables at the TCM Movie Database
The House of the Seven Gables at AllMovie
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Films directed by Joe May
Die geheimnisvolle Villa (1914)
Hilde Warren und der Tod (1917)
The Mistress of the World (1919)
The Indian Tomb (1921)
Tragedy of Love (1923)
The Farmer from Texas (1925)
Dagfin (1926)
Homecoming (1928)
Their Son (1929)
Asphalt (1929)
The Immortal Vagabond (1930)
Her Majesty the Barmaid (1931)
His Highness Love (1931)
That's All That Matters (1931)
Companion Wanted (1932)
Two in a Car (1932)
All for Love (1933)
A Song for You (1933)
The Typist Gets Married (1934)
Two Hearts in Waltz Time (1934)
Music in the Air (1934)
Confession (1937)
The House of Fear (1939)
Society Smugglers (1939)
The Invisible Man Returns (1940)
The House of the Seven Gables (1940)
You're Not So Tough (1940)
Hit the Road (1941)
Johnny Doesn't Live Here Any More (1944)
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The Little Girl Who Lives Down the Lane
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The Little Girl Who Lives Down the Lane
Promotional poster for U.S. release
Directed by
Nicolas Gessner
Produced by
Zev Braun
Written by
Laird Koenig
Based on
The Little Girl Who Lives Down the Lane
by Laird Koenig
Starring
Jodie Foster
Martin Sheen
Alexis Smith
Mort Shuman
Scott Jacoby
Music by
Christian Gaubert[1]
Cinematography
René Verzier[2]
Edited by
Yves Langlois[2]
Distributed by
Astral Films (Canada)
Cinema International Corporation (France)[2]
Release date
May 1976 (1976-05) (Cannes Film Festival)
[3][4]
Running time
91 minutes[5]
Country
Canada
France[1][6][2]
Language
English
The Little Girl Who Lives Down the Lane (French: La Petite Fille au bout du chemin) is a 1976 cross-genre film directed by Nicolas Gessner and starring Jodie Foster, Martin Sheen, Alexis Smith, Mort Shuman, and Scott Jacoby. It was a co-production of Canada and France and written by Laird Koenig, based on his 1974 novel of the same title.
The plot focuses on 13-year-old Rynn Jacobs (Foster), a child whose absent poet father and secretive behaviours prod the suspicions of her conservative small-town Maine neighbours. The adaptation, originally intended as a play, was filmed in Quebec on a small budget. The production later became the subject of controversy over reports that Foster had conflicts with producers over the filming and inclusion of a nude scene, though a body double had been utilized. After a screening at the 1976 Cannes Film Festival, a court challenge was launched regarding distribution, and a general release followed in 1977.
Initially released to mixed reviews, with some critics finding the murder mystery plot weak but Foster's performance more meritorious, the film won two Saturn Awards, including Best Horror Film. It later obtained cult status, with later critics positively reviewing Foster and the screenplay. Writers and academics have interpreted it as a statement on children's rights and variously placed it in the thriller, horror, mystery or other genres.
Contents
[hide]
1 Plot
2 Cast
3 Themes
4 Production
4.1 Development
4.2 Casting
4.3 Filming
4.4 Music
5 Release
6 Reception
6.1 Critical reception
6.2 Accolades
7 References
7.1 Bibliography
8 External links
Plot[edit]
On Halloween in the seaside town of Wells Harbor, Maine, Rynn Jacobs is celebrating her thirteenth birthday alone in her father Lester's house. Lester was a poet and the two recently moved from England, where he leased the house for three years. Frank Hallet, the adult son of landlord Cora Hallet, visits and makes sexual advances toward Rynn. Cora Hallet later arrives at the house, searching for Rynn's father. Rynn claims he is in New York and taunts the landlord about her son. The situation becomes more tense when Mrs. Hallet insists on retrieving her jelly glasses from the cellar. Rynn steadfastly refuses to let her in the cellar, and Mrs. Hallet leaves. She returns later, and, ignoring Rynn's warnings, opens the trapdoor to go into the cellar. Suddenly terrified by something she sees, Mrs. Hallet attempts to flee, but accidentally knocks down the cellar door support, fatally hitting her head on the door.
Trying to hide evidence of Mrs. Hallet's visit, Rynn goes outside to move her car. Her inability to start it attracts the attention of Mario, a young magician and the nephew of Officer Miglioriti. Mario helps her move the car, and they have dinner together at Rynn's house. Miglioriti stops by to tell them that Frank Hallet has reported his mother missing, and asks to see Rynn's father, but Mario covers by saying that her father has gone to bed. Later that night, Frank Hallet makes a surprise visit. Suspicious, and looking for answers about the whereabouts of his mother and Rynn's father, he tries to scare Rynn into talking by killing her pet hamster. Mario chases Frank away, and Rynn now trusts him enough to show him her secret. Her terminally ill father and abusive mother divorced long ago. To protect Rynn from being returned to her mother's custody after his death, he moved them to an isolated area and made plans to allow Rynn to live alone, then committed suicide in the ocean so his body would not be found. He also left Rynn with a jar of potassium cyanide, telling her that it was a sedative, to give to her mother if she ever came for her. Rynn coolly recounts how she put the powder in her mother's tea and watched her die. She learned embalming at the library in order to hide the body in the cellar.
The trust between Rynn and Mario blossoms into romance. They bury the corpses in the garden during a heavy rain, and Mario catches a cold. Miglioriti, suspicious of Rynn's excuses for her father's absence, again returns to the house. When he asks to see her father, Mario, disguised as an old man, comes down the stairs and introduces himself as Lester Jacobs. After winter sets in, Rynn learns that Mario's cold has developed into pneumonia and he is in the hospital. Rynn goes to see him, but he is unconscious, and she feels lonelier than ever before. That night, as Rynn is going to bed, she is shocked to find Frank coming out of the cellar. Having put the pieces together and knowing the truth about Rynn's parents, he attempts to blackmail her, offering to protect her secrets in exchange for sexual favours. Rynn, seemingly defeated and resigned to Frank's demands, agrees to his suggestion that they have a cup of tea. Rynn places a dose of the potassium cyanide into her own cup and then takes the tea and almond cookies to the living room. A suspicious Frank switches his cup with hers, and Rynn watches on as he begins to succumb to the poison.
Cast[edit]
Martin Sheen has a major role as Frank Hallet.
Jodie Foster as Rynn Jacobs
Martin Sheen as Frank Hallet
Alexis Smith as Mrs. Hallet
Mort Shuman as Officer Miglioriti
Scott Jacoby as Mario
Themes[edit]
Felicia Feaster, writing for Turner Classic Movies, found an "unusual theme" in the film, which she interpreted as being one of independence for children.[7] Professor James R. Kincaid read the film as a call for children's rights.[8] T.S. Kord wrote the film argued that a child with money and a home does not need a parent if he or she does not believe it is necessary. The adults who attempt to intrude in Rynn's affairs are a threat, including her mother, her landlord, and the molester.[9]
Writer Anthony Synnott placed The Little Girl Who Lives Down the Lane in a trend of sexualizing children in film, calling Rynn the "murdering nymphet" and comparing her to Foster's child prostitute character Iris in Taxi Driver (1976).[10] Anthony Cortese also referred to Foster as giving an "encore performance" of Taxi Driver, calling Rynn "a 13-year-old imp of maturing sexuality".[11] Scholar Andrew Scahill described it as fitting a cinematic narrative of children in rebellion, one in which the child appears seemly, as with The Innocents (1961), The Omen (1976) and others.[12]
The genre has been debated, with Feaster arguing it was more psychological thriller than horror.[7] Jim Cullen summed the film up as "a strange hybrid" of genres, being a horror, thriller and feminist film.[13] Kord listed it among dramas about "Eerie, malevolent or criminal children", distinct from depictions of children in the supernatural horror genre.[14] Martin Sheen said it was a horror film in some ways, but "not overt", with mystery and suspense elements.[15] However, director Nicolas Gessner denied it was horror, characterizing it as "a teenage love story".[16]
Production[edit]
Development[edit]
Novelist Laird Koenig adapted the book himself.[17] Originally, the script was intended as a play, but this idea was abandoned due to the belief that a young actress would not be available to play Rynn for an extended period.[16] Gessner read the book, only to find rights were optioned to Sam Spiegel, but the project was derailed due to creative differences, allowing Gessner to secure them.[16]
The film followed tax incentives for cinema offered by the government of Canada, beginning in 1974, stimulating a "Hollywood North".[18] It was a co-production of Canada and France,[19] with Zev Braun producing as head of Zev Braun Productions, based in Los Angeles, alongside L.C.L. Industries in Montreal and Filmedis-Filmel in Paris.[20][21] Canadian producer Denis Héroux, who during the decade specialized in popular cinema with financiers from outside the country, also worked on the project.[22] It was shot on a small budget.[17] Financiers disliked how in the novel, Rynn murdered Mrs. Hallet with poisonous gas, causing the scene to be rewritten so the death is accidental.[16]
Casting[edit]
Director Martin Scorsese was editing Alice Doesn't Live Here Anymore, and Gessner's look at his work led him to discover Jodie Foster.[16] With the guidance of her mother Brandy, Jodie took the role of Rynn,[23] and turned 13 while the film was being shot.[24] She wore a wig for the film, and a gap was added in her teeth.[25]
Sheen said he was contacted by Gessner personally about playing Frank Hallet, which Sheen accepted because he found the part intriguing and because he believed Foster had a promising career.[15] Gessner claimed Sheen was initially more interested in playing Mario, but Gessner persuaded Sheen that he was too old for that part. Gessner noted that casting Alexis Smith, who was born in Canada, also helped secure Canadian tax incentives.[16]
Filming[edit]
Knowlton, Quebec was a filming location.
The Little Girl Who Lives Down the Lane was filmed in Montreal[15] and Knowlton, Quebec.[26] Sheen described the set as relaxed and as encouraging creativity, and said Foster also built a friendship with his daughter Renée Estevez during shooting.[15]
A producer's desire for "sex and violence" led to a nude scene depicting Rynn being added to the film. Foster strongly objected, saying "I walked off the set".[27] As a result, her older sister Connie acted as the nude double.[28] Her mother had suggested Connie, who was 21 at the time.[29] Following the release of Taxi Driver, the industry shared stories of Foster having conflicts during the production of The Little Girl Who Lives Down the Lane.[30] However, Gessner claimed Foster only regretted the scene after it was shot, and her request that it be deleted was denied by the Canadian producers.[16]
The crew built a false trapdoor for Mrs. Hallet's death scene, though Gessner acknowledged Smith was nervous about the effect.[16] For the scene where Frank Hallet kills the hamster Gordon, Sheen handled a dead and frozen rodent, and attempted to make it seem like it was still alive. Sound effects of squealing were also added.[15] The dead hamster was obtained from a hospital which carried out animal research, while the live hamster portraying Gordon in other scenes was given to the costume designer after production.[16]
Music[edit]
Chopin's Piano Concerto No. 1 in E Minor
Frédéric Chopin's music is used in the film.
Problems playing this file? See media help.
Mort Shuman, who played Officer Miglioriti, was a musician in real life, so the crew intended that Shuman would also write the film score. However, Shuman's arranger Christian Gaubert wrote the bulk of the music, giving him the credit of composer, while Shuman was listed as the music supervisor.[16]
Gessner wanted to use the music of Polish composer and pianist Frédéric Chopin, finding his music a good match with the dialogue. He said Chopin's music was intended to symbolize hope and absolution, along with sadness.[16] Chopin's piece No. 1 in E Minor was performed by pianist Claudio Arrau and The London Philharmonic Orchestra.[20]
Release[edit]
After a screening at the Cannes Film Festival in May 1976,[3][4] Astral Bellevue Pathé Limited sold distribution rights to The Little Girl Who Lives Down the Lane, allowing it to make $750,000 worldwide by June.[31] The film was shown in Paris with a French dub on 26 January and in Toronto on 28 January 1977.[2] According to Variety, Beachfront Properties secured a temporary restraining order which gave it ownership of the film per a contract from September 1976. This order forbade any new sales but would not change the American International Pictures scheduled April 1977 release.[1] The film had trial screenings in Albuquerque and Peoria, Illinois on 18 March 1977.[1] It opened in Los Angeles on 11 May and in New York City on 10 August 1977,[1] with a PG rating.[32]
On its initial release, the film poster depicted The Little Girl Who Lives Down the Lane as a horror film, with an image of a building evoking the 1960 film Psycho and the subtitle "She was only a little girl. She lived in a great big house...all alone. Where is her mother? Where is her father? Where are all the people who went to visit her? What is her unspeakable secret? Everyone who knows is dead."[7]
A VHS release of the film removed the nudity, but it was re-added to the DVD.[17] StudioCanal published a DVD in Region 2 on 20 October 2008.[33] Kino Lorber released the film on Blu-ray in Region A on 10 May 2016.[34] Hulu and Amazon Prime also made the film available to their customers in November 2016.[35][36]
Reception[edit]
Critical reception[edit]
Janet Maslin, writing for The New York Times, said this was Foster's most natural portrayal of a child and that Sheen was frightening, and found the romance to be the greatest strength.[32] In The Washington Post, Gary Arnold called the film engaging, but claimed the murder plot is "too glib, too immorally contrived, to be satisfying."[19] Variety's review stated the story was unbelievable, and the romance was one of the few positive aspects.[37] Time's Christopher Porterfield felt the film failed to address the most interesting mysteries, and that doing so, combined with Foster's acting, would have made the film memorable.[38] Judith Crist's New York Post review judged it to be "a better-than-average thriller".[39] Foster's biographer Louis Chunovic referred to the film as "much maligned".[30]
Felicia Feaster of TCM remarked that The Little Girl Who Lives Down the Lane became a cult film, noting Danny Peary profiled it in his Guide for the Film Fanatic.[7] Peary also listed it in his book Cult Horror Movies.[40] In 1992, James Monaco gave the film three and a half stars, assessing it as disturbing and complimenting the performances and writing.[41] In their DVD and Video Guide 2005, Mick Martin and Marsha Porter awarded it three and a half stars, commenting it was "remarkably subdued".[42] Author David Greven praised Foster for a performance "achingly" suggesting "adolescent anomie".[43] In his 2015 Movie Guide, Leonard Maltin gave the film three stars, declaring it as a "Complex, unique mystery".[44] The film has a 90% approval rating on Rotten Tomatoes, based on 10 reviews.[45]
Accolades[edit]
Award
Date of ceremony
Category
Recipient(s)
Result
Ref(s)
Saturn Awards 14 January 1978 Best Horror Film The Little Girl Who Lives Down the Lane Won [46]
Best Actress Jodie Foster Won
Best Director Nicolas Gessner Nominated [24]
Best Supporting Actress Alexis Smith Nominated
Best Writing Laird Koenig Nominated
References[edit]
^ Jump up to: a b c d e "The Little Girl Who Lives Down the Lane". American Film Institute. Archived from the original on 12 June 2017. Retrieved 16 March 2017.
^ Jump up to: a b c d e "Little Girl Who Lives Down the Lane, The". Library and Archives Canada. Archived from the original on 30 December 2017. Retrieved 16 March 2017.
^ Jump up to: a b "Jodie Foster To Be Honored at the 2016 British Academy Britannia Awards". British Academy of Film and Television Arts. 26 September 2016. Archived from the original on 1 November 2016. Retrieved 16 March 2017.
^ Jump up to: a b Chunovic 1995, p. 35.
Jump up ^ "THE LITTLE GIRL WHO LIVES DOWN THE LANE (1976)". British Board of Film Classification. Archived from the original on 30 December 2017. Retrieved 11 March 2017.
Jump up ^ "La Petite fille au bout du chemin". Bifi.fr. Archived from the original on 17 March 2017. Retrieved 16 March 2017.
^ Jump up to: a b c d Feaster, Felicia. "THE LITTLE GIRL WHO LIVES DOWN THE LANE". Turner Classic Movies. Archived from the original on 6 March 2017. Retrieved 5 March 2017.
Jump up ^ Kincaid 1998, p. 127.
Jump up ^ Kord 2016, p. 176.
Jump up ^ Synnott 2011, p. 37.
Jump up ^ Cortese 2006, p. 86.
Jump up ^ Scahill 2015.
Jump up ^ Cullen 2013, p. 188-189.
Jump up ^ Kord 2016, p. 3.
^ Jump up to: a b c d e Sheen, Martin (2016). Back Down the Lane: Martin Sheen on The Little Girl Who Lives Down the Lane (Blu-ray). Kino Lorber.
^ Jump up to: a b c d e f g h i j k Gessner, Nicolas (2016). The Little Girl Who Lives Down the Lane commentary (Blu-ray). Kino Lorber.
^ Jump up to: a b c Barrett, Michael (25 May 2016). "The Little Girl Who Lives Down the Lane". PopMatters. Archived from the original on 7 March 2017. Retrieved 6 March 2017.
Jump up ^ Gold, Daniel M. (15 February 2017). "Recalling When Canada Was 'Hollywood North'". The New York Times. Archived from the original on 20 February 2017. Retrieved 5 March 2017.
^ Jump up to: a b Arnold, Gary (17 May 1977). "Promising, Precocious 'Little Girl'". The Washington Post. Archived from the original on 26 March 2017. Retrieved 5 March 2017.
^ Jump up to: a b "The Little Girl Who Lives Down the Lane". Filmfacts. Division of Cinema of the University of Southern California. 20: 134. 1977.
Jump up ^ "La Petite Fille au bout du chemin". La Revue du cinéma. Ligue française de l'enseignement et de l'éducation permanente (319-323): 211. 1977.
Jump up ^ Glassman, Marc (2011). "Groundbreaking filmmaker was also a savvy businessman". Playback. Archived from the original on 6 March 2017. Retrieved 5 March 2017.
Jump up ^ Sonneborn 2014, p. 74.
^ Jump up to: a b Jacobs, Christopher P. (18 January 2017). "Overlooked Thriller Turns 40". High Plains Reader. Archived from the original on 7 March 2017. Retrieved 6 March 2017.
Jump up ^ Erb 2010, p. 95.
Jump up ^ Pratley 2003, p. 127.
Jump up ^ Erb 2010, p. 94-95.
Jump up ^ Snodgrass 2008, p. 285.
Jump up ^ "Kid Thriller". Cosmopolitan. Vol. 183. Hearst Corporation. 1977. p. 304.
^ Jump up to: a b Chunovic 1995, p. 33.
Jump up ^ Tadros, Connie (June–July 1976). "Cannes: Commercial Results". Cinema Canada. p. 23.
^ Jump up to: a b Maslin, Janet (11 August 1977). "Screen: But When She Was Bad..." The New York Times. Archived from the original on 19 October 2017. Retrieved 5 March 2017.
Jump up ^ Anderson, Martin (13 October 2008). "The Little Girl Who Lives Down The Lane DVD review". Den of Geek. Archived from the original on 11 March 2017. Retrieved 11 March 2017.
Jump up ^ Anderson, Melissa (10 May 2016). "Disappearing Acts: Preminger's 'Bunny Lake' Still Entices, as Does Teenage Jodie Foster". The Village Voice. Archived from the original on 6 March 2017. Retrieved 5 March 2017.
Jump up ^ Guerrasio, Jason (26 October 2016). "The best movies and TV shows coming to Amazon, HBO, and Hulu in November". Business Insider. Archived from the original on 7 March 2017. Retrieved 6 March 2017.
Jump up ^ Lapin, Andrew (October 2016). "What's New on Hulu: November 2016". Vulture.com. Archived from the original on 7 March 2017. Retrieved 6 March 2017.
Jump up ^ Staff (31 December 1976). "Review: 'The Little Girl Who Lives Down the Lane'". Variety. Archived from the original on 6 March 2017. Retrieved 5 March 2017.
Jump up ^ Porterfield, Christopher (1977). "The New Waif". Time. Vol. 110 no. 1-9. p. 210.
Jump up ^ "The Little Girl Who Lives Down the Lane". Filmfacts. Division of Cinema of the University of Southern California. 20: 135. 1977.
Jump up ^ Peary 2014.
Jump up ^ Monaco 1992, p. 480.
Jump up ^ Martin & Porter 2004, p. 649.
Jump up ^ Greven 2011, p. 149.
Jump up ^ Maltin 2014.
Jump up ^ "THE LITTLE GIRL WHO LIVES DOWN THE LANE (1976)". Rotten Tomatoes. Archived from the original on 6 March 2017. Retrieved 5 March 2017.
Jump up ^ "Past Saturn Awards". saturnawards.org. Archived from the original on 1 June 2007. Retrieved 8 June 2007.
Bibliography[edit]
Chunovic, Louis (1995). Jodie: A Biography. Contemporary Books. ISBN 0809234041.
Cortese, Anthony (2006). Opposing Hate Speech. Westport, Connecticut and London: Praeger. ISBN 0275984273.
Cullen, Jim (28 February 2013). Sensing the Past: Hollywood Stars and Historical Visions. Oxford and New York: Oxford University Press. ISBN 0199927669.
Erb, Cynthia (2010). "Jodie Foster and Brooke Shields: 'New Ways to Look at the Young'". Hollywood Reborn: Movie Stars of the 1970s. New Brunswick, New Jersey and London: Rutgers University Press. ISBN 0813549523.
Greven, David (25 April 2011). Representations of Femininity in American Genre Cinema: The Woman's Film, Film Noir, and Modern Horror. Springer. ISBN 0230118836.
Kincaid, James Russell (1998). Erotic Innocence: The Culture of Child Molesting. Durham and London: Duke University Press. ISBN 0822321939.
Kord, T.S. (25 July 2016). Little Horrors: How Cinema's Evil Children Play on Our Guilt. Jefferson, North Carolina: McFarland & Company Publishers. ISBN 1476626669.
Maltin, Leonard (2014). Leonard Maltin's 2015 Movie Guide. New York: Signet. ISBN 0698183614.
Martin, Mick; Porter, Marsha (2004). DVD and Video Guide 2005. Ballantine. ISBN 0345449959.
Monaco, James (1992). The Movie Guide. Perigee Books. ISBN 0399517804.
Peary, Danny (7 October 2014). Cult Horror Movies: Discover the 33 Best Scary, Suspenseful, Gory, and Monstrous Cinema Classics. Workman Publishing. ISBN 0761181709.
Pratley, Gerald (2003). A Century of Canadian Cinema: Gerald Pratley's Feature Film Guide, 1900 to the Present. Lynx Images. ISBN 1894073215.
Scahill, Andrew (30 September 2015). "Malice in Wonderland: The Terrible Performativity of Childhood- A Basket Full of Performance". The Revolting Child in Horror Cinema: Youth Rebellion and Queer Spectatorship. Springer. ISBN 1137481323.
Snodgrass, Mary Ellen (2008). Beating the Odds: A Teen Guide to 75 Superstars Who Overcame Adversity. Westport, Connecticut and London: Greenwood Publishing Group. ISBN 0313345651.
Sonneborn, Liz (14 May 2014). A to Z of American Women in the Performing Arts. Infobase Publishing. ISBN 1438107900.
Synnott, Anthony (31 December 2011). "Little Angels, Little Devils: A Sociology of Children". A to Z of American Women in the Performing Arts (Second ed.). New Brunswick, United States and London: Transaction Publishers. ISBN 0202364704.
External links[edit]
The Little Girl Who Lives Down the Lane on IMDb
The Little Girl Who Lives Down the Lane at the TCM Movie Database
The Little Girl Who Lives Down the Lane at AllMovie
[show]
v
t
e
Films directed by Nicolas Gessner
The Blonde from Peking (1968)
The Thirteen Chairs (1969)
Someone Behind the Door (1971)
The Little Girl Who Lives Down the Lane (1976)
Tennessee Waltz (1989)
[show]
v
t
e
Saturn Award for Best Horror Film
Blacula (1972)
The Exorcist (1973)
Young Frankenstein (1974/75)
Burnt Offerings (1976)
The Little Girl Who Lives Down the Lane (1977)
The Wicker Man (1978)
Dracula (1979)
The Howling (1980)
An American Werewolf in London (1981)
Poltergeist (1982)
The Dead Zone (1983)
Gremlins (1984)
Fright Night (1985)
The Fly (1986)
The Lost Boys (1987)
Beetlejuice (1988)
Arachnophobia (1989/90)
The Silence of the Lambs (1991)
Bram Stoker's Dracula (1992)
Army of Darkness (1993)
Interview with the Vampire (1994)
From Dusk till Dawn (1995)
Scream (1996)
The Devil's Advocate (1997)
Apt Pupil (1998)
The Sixth Sense (1999)
Final Destination (2000)
The Others (2001)
The Ring (2002)
28 Days Later (2003)
Shaun of the Dead (2004)
The Exorcism of Emily Rose (2005)
The Descent (2006)
Sweeney Todd: The Demon Barber of Fleet Street (2007)
Hellboy II: The Golden Army (2008)
Drag Me to Hell (2009)
Let Me In (2010)
The Girl with the Dragon Tattoo (2011)
The Cabin in the Woods (2012)
The Conjuring (2013)
Dracula Untold (2014)
Crimson Peak (2015)
Don't Breathe (2016)
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The Best Pair of Legs in the Business
From Wikipedia, the free encyclopedia
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The Best Pair of Legs in the Business is a 1973 British comedy-drama film directed by Christopher Hodson and starring Reg Varney, Diana Coupland and Lee Montague.[1] A comic at a holiday camp is concerned about the future. However he manages to secure both a job and a wife. It is a cinematic version of an episode of Yorkshire Television's "ITV Playhouse", transmitted on 28 December 1968.
Contents
[hide]
1 Plot
2 Cast
3 References
4 External links
Plot[edit]
Sherry Sheridan's career is dying. He is tolerated rather than valued at the holiday camp. His wife Mary is having an affair with the outgoing camp manager who tries to persuade her to leave with him. Every time she is about to, something happens to prevent it.
Sherry's agent drops him. He drinks too heavily. The only people who show him any form of affection are two girls who prefer him to two randy boys.
His estranged son Alan turns up in an attempt to heal relations. He invites his father to meet his fiancee and her parents including the father who is a vicar. Sherry attempts to puff himself up as a big shot entertainer who knows the Queen. Having disgraced himself, he goes back to the holiday camp alone.
The two jilted boys find Sherry peeping into the caravan window of the two girls while undressing. They throw him in the swimming pool where he protests that he cannot swim. He is rescued by his son. In a final reconciliation scene, the son explains that the critical comment about having the best legs in the business was actually a compliment after a friend protested that he was embarrassed by his own father's legs in a knobbly knee competition.
Cast[edit]
Reg Varney - Sherry Sheridan
Diana Coupland - Mary Sheridan
Lee Montague - Charlie Green
Jean Harvey - Emma Cooper
David Lincoln - Ron
George Sweeney - Dai
Clare Sutcliffe - Glad
Penny Spencer - Eunice
Michael Hadley - Alan Sheridan
Bill Dean - Bert
Reginald Marsh - Fred
Karen Kessey - May
Johnny Briggs - Millet
Geoffrey Chater - Rev. Thorn
Clare Kelly - Mrs. Thorn
Jane Seymour - Kim Thorn
Jenny Thompson - Edna Pilbeam
Claire Davenport - Eating Lady
Claire Shenstone - 1st Chemist
Jane Cardew - 2nd Chemist
Preston Lockwood - 3rd Chemist
References[edit]
Jump up ^ http://ftvdb.bfi.org.uk/sift/title/147364
External links[edit]
The Best Pair of Legs in the Business on IMDb

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Ahmed Kathrada
From Wikipedia, the free encyclopedia
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Ahmed Kathrada
Kathrada in 2016
Member of Parliament of South Africa
In office
1994–1999
Constituency
Lenasia
Personal details
Born
Ahmed Mohamed Kathrada
(1929-08-21)21 August 1929
Schweizer-Reneke, Transvaal Province, Union of South Africa
Died
28 March 2017(2017-03-28) (aged 87)
Johannesburg, South Africa
Political party
African National Congress
South African Communist Party
Spouse(s)
Barbara Hogan
Alma mater
University of South Africa
Website
kathradafoundation.org
Ahmed Mohamed Kathrada (21 August 1929 – 28 March 2017), sometimes known by the nickname "Kathy", was a South African politician, political prisoner and anti-apartheid activist.
Kathrada's involvement in the anti-apartheid activities of the African National Congress (ANC) led him to his long-term imprisonment following the Rivonia Trial, in which he was held at Robben Island and Pollsmoor Prison. Following his release in 1990, he was elected to serve as a member of parliament, representing the ANC. He authored a book, No Bread for Mandela – Memoirs of Ahmed Kathrada, Prisoner No. 468/64.
Contents
1 Early life
2 Political activist
3 Rivonia trial
4 Imprisonment
5 Activities after release
6 Death
7 Honours and awards
8 See also
9 Further reading
10 References
10.1 Citations
10.2 Works cited
11 External links
Early life[edit]
Ahmed Kathrada was born in the small country town of Schweizer-Reneke in the Western Transvaal,[2] the fourth of six children in a Gujarati Bohra family of South African Indian immigrant parents from Surat, Gujarat.[3]
Owing to his Indian origin and the policies of the time, he could not be admitted to any of the "European" or "African" schools in the area and thus he had to move to Johannesburg, 200 miles to the east, to be educated, where his best friend's name was Fali.[4][5] Once in Johannesburg, he was influenced by leaders of the Transvaal Indian Congress such as Dr. Yusuf Dadoo, IC Meer, Moulvi and Yusuf Cachalia, and JN Singh.[2] Consequently, he became a political activist at the early age of 12 when he joined the Young Communist League of South Africa.[4] He took part in various activities such as handing out leaflets[5] and performing volunteer work in the individual passive resistance against the Pegging Act in 1941. During World War II, he was involved in the anti-war campaign of the Non-European United Front.[6]
Political activist[edit]
At the age of 17 he left school to work full-time for the Transvaal Passive Resistance Council in order to work against the Asiatic Land Tenure and Indian Representation Act, commonly referred to as the "Ghetto Act", which sought to give Indians limited political representation and restricted where Indians could live, trade and own land.[4][6]
Kathrada was one of the two thousand volunteers imprisoned as a result of the campaign; he spent a month in a Durban jail.[2] This was his first jail sentence for civil disobedience. Later, he was elected as the chair of the Transvaal Indian Youth Congress.[2][6]
While Kathrada was a student at the University of the Witwatersrand he was sent as a delegate of the Transvaal Indian Youth Congress to the 3rd World Festival of Youth and Students in East Berlin in 1951.[7] He was elected as the leader of the large multi-racial South African delegation.[6] He remained in Europe in order to attend a congress of the International Union of Students in Warsaw,[6] and finally travelled to Budapest and worked at the headquarters of the World Federation of Democratic Youth for nine months.[8]
As result of the growing co-operation between the African and Indian Congresses in the 1950s, Kathrada came into close contact with African National Congress leaders such as Nelson Mandela and Walter Sisulu he was one of 156 accused in the four-year Treason Trial which lasted from 1956 to 1960. Eventually, all of the accused were found not guilty.[5]
After the ANC and various other anti-apartheid organisations were banned in 1960, Kathrada continued his political activities despite repeated detentions and increasingly severe house arrest measures against him. In order to be free to continue his activities, Kathrada went underground early in 1962.[5][6]
Rivonia trial[edit]
Main article: Rivonia trial
On 11 July 1963, Kathrada was arrested at the South African internal headquarters of Umkhonto we Sizwe ("The Spear of the Nation" – the military wing of the ANC) in Rivonia, near Johannesburg. Although Kathrada was not a member of Umkhonto we Sizwe, he became one of the accused in the famous Rivonia Trial, which started in October 1963. He was charged with sabotage and attempting to overthrow the government and to start a guerilla war.[9]
The trial ended in June 1964; Kathrada was sentenced to life imprisonment along with Nelson Mandela, Walter Sisulu, Govan Mbeki, Andrew Mlangeni, Billy Nair, Elias Motsoaledi, Raymond Mhlaba and Denis Goldberg.[10]
Imprisonment[edit]
Kathrada giving a tour of the Robben Island, where he was imprisoned between 1964 and 1982, to the US then-president Barack Obama's family in 2013.
For the following 18 years, Kathrada was confined to the Robben Island Maximum Security Prison off Cape Town along with most of his Rivonia Trial co-defendants.[4] In October 1982, he was moved to Pollsmoor Maximum Security Prison near Cape Town.[4]
While in jail on Robben Island and in pollsmoor, Kathrada completed Bachelor's degrees in History/Criminology as well as three other degrees, thanks to his family who paid the tuition fee.[11]
On 15 October 1989 Kathrada, along with Jeff Masemola, Raymond Mhlaba, Billy Nair, Wilton Mkwayi, Andrew Mlangeni, Elias Motsoaledi, Oscar Mpetha, and Walter Sisulu were released from Johannesburg prison.[12]
Activities after release[edit]
After the unbanning of the ANC in February 1990, Kathrada served on the interim leadership committees of both the ANC and the South African Communist Party. He resigned from the latter position when he was elected to the ANC National Executive Committee in July 1991. During the same year, he was appointed as head of ANC public relations as well as a fellow of the University of the Western Cape's Mayibuye Centre.[13]
Kathrada went on the Hajj pilgrimage to Mecca in 1992.[13]
In the first all-inclusive democratic South African elections in 1994, Kathrada was elected as a member of parliament for the ANC.[4] in September 1994 he was appointed as the political advisor to President Mandela in the newly created post of Parliamentary Counsellor.[4] In June 1999, Kathrada left parliamentary politics.
In 1994 and 1995, Kathrada was elected as chairperson of the Robben Island Council. He remained the chairperson of the Robben Island Museum Council. On 27 October 2013, on the island, he launched the International Campaign to Free Marwan Barghouthi and All Palestinian Prisoners.[14]
Kathrada was married to Barbara Hogan, a recent Minister of Public Enterprises.[15][16]
Death[edit]
Kathrada died at a medical center in Johannesburg from complications of a cerebral embolism on 28 March 2017, aged 87.[17] He was buried the next day in Johannesburg in accordance with Islamic rites.[16] The BBC described the funeral as "simple" with "nothing lavish or grand" in sight, and there was a tent "filled with people" who paid their last tribute.[16] Some South African leaders, including the former president Kgalema Motlanthe and the minister of finance Pravin Gordhan, attended but did not receive any special treatment.[16] President Jacob Zuma, Kathrada's opponent, did not attend the funeral in accordance with the family's wishes.[16]
Zuma ordered the South African flag to be flown at half-mast to mark Kathrada's death and postponed a cabinet meeting in order to allow cabinet members to attend the funeral.[16]
Honours and awards[edit]
In addition to receiving the Isitwalandwe Award (the ANC’s highest possible accolade) whilst still in prison, Kathrada has also been awarded four Honorary Doctorates, including the University of Missouri, Michigan State University, and the University of Kentucky.[18]
Kathrada was also voted 46th in the Top 100 Great South Africans in 2004.[19]
He was awarded the Pravasi Bharatiya Samman by the Ministry of Overseas Indian Affairs in 2005.[20]
On 18 July 2011, he and his wife was the chief guest on Nelson Mandela International Day at the United Nations Information Centre for India and Bhutan, where he shared his views with children.[21]
See also[edit]
Pravasi Bharatiya Samman
Pravasi Bharatiya Divas
Further reading[edit]
Kathrada, Ahmed (1999). Robert Vassen, ed. Letters from Robben Island: A Selection of Ahmed Kathrada's Prison Correspondence. Michigan State University Press. ISBN 978-0-87013-527-9.
Kathrada, Ahmed (2004-08-06). Marlene Burger, ed. Ahmed Kathrada memoirs. Paarl, South Africa: Zebra press. ISBN 1-86872-918-4.
References[edit]
Citations[edit]
Jump up ^ "Ahmed Kathrada, South African anti-apartheid activist – obituary". telegraph.co.uk. Retrieved 29 March 2017.
^ Jump up to: a b c d Kathrada 2004, p. 373
Jump up ^ Burton, Antoinette (1 May 2012). "Review of Kathrada, A. M., No Bread for Mandela: Memoirs of Ahmed Kathrada, Prisoner No. 468/64". h-net.org. Retrieved 29 March 2017.
^ Jump up to: a b c d e f g "Ahmed Kathrada, unflinching opponent of apartheid in South Africa, dies at 87". washingtonpost.com. Retrieved 29 March 2017.
^ Jump up to: a b c d Dixon, Robyn (27 March 2017). "Ahmed Kathrada dies at 87; Nelson Mandela's trusted ally helped overturn apartheid in South Africa". Retrieved 29 March 2017 – via LA Times.
^ Jump up to: a b c d e f "Ahmed Kathrada's Most Notable Moments". huffingtonpost.co.za. Retrieved 29 March 2017.
Jump up ^ Kathrada 2004, p. 374
Jump up ^ "Strong Opinion, Sharp Wit, And Humour Mark The Life Of Struggle Icon Ahmed Kathrada". huffingtonpost.co.za. Retrieved 29 March 2017.
Jump up ^ Chan, Sewell (28 March 2017). "Ahmed Kathrada, Anti-Apartheid Activist in South Africa, Dies at 87". Retrieved 29 March 2017 – via NYTimes.com.
Jump up ^ "EIGHT CONVICTED IN SOUTH AFRICA". The New York Times. 12 June 1964. Retrieved 29 March 2017.
Jump up ^ "Where Mandela Kept Hope, Guide Tells Their Shared Saga". The New York Times. 2013-07-05. Retrieved 2017-03-30.
Jump up ^ Mandela 1996, p. 174
^ Jump up to: a b jonas (13 July 2011). "Ahmed Mohamed Kathrada Timeline: 1929 – 2017". sahistory.org.za. Retrieved 30 March 2017.
Jump up ^ Ahmed Kathrada (31 October 2013). "Unconditional release of Marwan Barghouti is positive step forward". aljazeera.com. Retrieved 11 December 2013.
Jump up ^ AfricaNews (30 March 2017). "South Africa's Zuma not welcome at funeral of anti-apartheid hero Kathrada". africanews.com. Retrieved 30 March 2017.
^ Jump up to: a b c d e f "Ahmed Kathrada funeral: South Africa's Zuma asked to stay away". 29 March 2017. Retrieved 30 March 2017 – via www.bbc.com.
Jump up ^ "Struggle stalwart Ahmed Kathrada has died". eNews Channel Africa. ENCA. Retrieved 28 March 2017.
Jump up ^ "Convocation of Ahmed Kathrada and Barbara Hogan". Archived from the original on 2011-08-27.
Jump up ^ "The 10 Greatest South Africans of all time". BizCommunity. 27 September 2004. Retrieved 31 March 2017.
Jump up ^ Amit Baruah (2005-01-05). "Pravasi Bharatiya Samman Divas awards announced". The Hindu. Retrieved 2017-03-30.
Jump up ^ "UNIC Celebrates Nelson Mandela International Day". United Nations Information Centre for India and Bhutan. 18 July 2011.
Works cited[edit]
Kathrada, Ahmed (2004-08-06). Marlene Burger, ed. Ahmed Kathrada memoirs. Paarl, South Africa: Zebra press. ISBN 1-86872-918-4.
Mandela, Nelson (1996). The illustrated long walk to freedom. Paul Duncan (abridgement and picture editing). Boston: Little, Brown and Company. ISBN 0-316-88020-5.
External links[edit]
African Activist Archive See a 1970s ANC campaign button "Free South African Political Prisoners – Free Ahmed Kathrada – ANC"
South Africa: Overcoming Apartheid – Building Democracy Read a brief biography of Ahmed Kathrada from South African History Online
South Africa: Overcoming Apartheid – Building Democracy Listen to an interview with Ahmed Kathrada and two presentations made by him at Michigan State University in 2006 with comments on the armed struggle, banning, freedom, race, post-apartheid South Africa, and the African National Congress (ANC).
Authority control
WorldCat Identities
BNF: cb151221486 (data)
GND: 129596272
ISNI: 0000 0001 1449 2147
LCCN: n96027383
SELIBR: 401799
SNAC: w6x95fch
SUDOC: 071346872
VIAF: 79209255
Retrieved from "https://en.wikipedia.org/w/index.php?title=Ahmed_Kathrada&oldid=847962697"
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