The Letter (1929) Direction: Jean de Limur Cast: Jeanne Eagels, O.P. Heggie, Reginald Owen, Herbert Marshall, Irene Browne, Lady Tsen Mei, Tamaki Yoshiwara Screenplay: Garrett Fort; from W. Somerset Maugham's 1927 play, itself based on a Maugham story found in the 1924 collection The Casuarina Tree Oscar Movies, Pre-Code Movies Jeanne Eagels, Herbert Marshall, The Letter Having watched William Wyler's masterful 1940 film adaptation of W. Somerset Maugham's 1927 play The Letter and having read quite a bit about Broadway star Jeanne Eagels' remarkable talent, I was expecting to find at least a modicum of interest in Jean de Limur's 1929 version of Maugham's crime-of-passion melodrama. I'm sorry to report I was greatly disappointed, even though Garrett Fort's screenplay is quite similar to the one used in the Wyler version. Stuck on a Malayan rubber plantation with her aloof older husband (Reginald Owen), British subject Leslie Crosbie (Eagels) finds affection...
- 1/27/2012
- by Andre Soares
- Alt Film Guide
One of the interesting things about David Goodis’s career, Steve Seid mentioned by way of introduction to François Truffaut’s Tirez sur le pianiste (Shoot the Piano Player, 1960), is that—even though Goodis’s first connection to filmmaking occurred in 1947 with Dark Passage and The Unfaithful—attempts to adapt his work have continued to the present day; Seid recently met someone working with Goodis’s 1951 novel Cassidy’s Girl. Along the way, going all the way back to 1954-1955, the French have been particularly attracted to Goodis’s novels and—of the twelve existing feature adaptations—eight have their roots in French filmmaking.
The earliest was Pierre Chenals’ Section des disparus made in Argentina during the mid-50s, continuing on with Henri Verneuil’s Le Casse (The Burglars, 1971), René Clement’s La Course du Lièvre à Travers Les Champs (And Hope To Die, 1972), Jean-Jacques Beineix’s La Lune Dans...
The earliest was Pierre Chenals’ Section des disparus made in Argentina during the mid-50s, continuing on with Henri Verneuil’s Le Casse (The Burglars, 1971), René Clement’s La Course du Lièvre à Travers Les Champs (And Hope To Die, 1972), Jean-Jacques Beineix’s La Lune Dans...
- 8/6/2008
- by Michael Guillen
- Screen Anarchy
Pfa curator Steve Seid reiterated that David Goodis—in the wake of the 1947 film adaptation of his novel Dark Passage—quickly secured a contract as a studio writer in Hollywood; but, had a rapid downfall and by 1950 moved back to Philadelphia. “The irony is that you can see in a single double-bill the entire output from his time in Los Angeles,” Seid quipped. Other filmic adaptations like Jacques Tourneur’s Nightfall eventually lead Goodis’s work back to Hollywood; but, not the author himself.
Seid then introduced Dan Hodges, a San Franciscan author specializing in film noir, whose work will be included in the forthcoming 4th Edition of Film Noir: An Encyclopedic Reference to the American Style. Hodges is also a key figure in the San Franciscan film noir salon The Danger & Despair Knitting Circle.
Seid then introduced Dan Hodges, a San Franciscan author specializing in film noir, whose work will be included in the forthcoming 4th Edition of Film Noir: An Encyclopedic Reference to the American Style. Hodges is also a key figure in the San Franciscan film noir salon The Danger & Despair Knitting Circle.
- 8/6/2008
- by Michael Guillen
- Screen Anarchy
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