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W. Chrystie Miller,
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In Brooklyn circa 1900, the Nolans manage to enjoy life on pennies despite great poverty and Papa's alcoholism. We come to know these people well through big and little troubles: Aunt Sissy's scandalous succession of "husbands"; the removal of the one tree visible from their tenement; and young Francie's desire to transfer to a better school...if irresponsible Papa can get his act together.Written by
Rod Crawford <email@example.com>
In the June 1945 issue of Screenland Magazine costume designer Bonnie Cashin, in her column "Notes from a Designer's Diary" comments "If the average American girl could be the heroine of her own life story, and dress accordingly! This thought struck me more forcibly than it ever had before while I was fitting Dorothy McGuire for the part of Katie in "A Tree Grows in Brooklyn." Most of the girls want to look a little glamorous on screen (and off) whether the story calls for rags or riches. Not Dorothy. A stickler for characterization, she stood for hours in her old rags and ravels, suggesting a patch here, a droop there, deliberately deglamorizing herself in order to make sure that not a single bright thread should give the lie to Katie's threadbare life. Dorothy was playing a heroine of poverty and she dressed accordingly. So should we all, in the parts we play, in make believe, or in life. Joan Blondell didn't complain, either, when as Aunt Sissy, she had to wear the sort of ugly-period-of-1914 clothes, the high-topped shoes, the blousy blouses, the too-tight corset. "Oh, Bonnie," little Peggy Ann Garner said to me when we were making Francie's clothes, "oh, Bonnie, every picture they put me in I have to wear poor girls' clothes. Can't I have one good dress?" So we gave her the white graduation dress and the red roses and Peggy Ann accepted poverty and trouped through the picture, patiently ironing her one faded cotton (and she did iron it) and well content. See more »
When the girl is ironing, she never gets a hot iron off the stove; back then, said irons had to be heated from some heat source, usually the stove top. One was used while another was being heated, and then the person would switch when the one ironing got too cool to press the wrinkles out. See more »
Bleak, tear-stained turn-of-the-century drama focusing on the hard knocks of tenement living offset by brilliant direction and radiant performances; an absolute must.
All one needs to view this 1945 near-masterpiece is an appreciation for brilliant film-making. I assure you, you will lose yourself completely in the story of the Nolan family, a humble, impoverished Irish-American family holding on by mere threads in 1900 New York. Director Elia Kazan's first film experience is often overlooked by his magnificent cinematic efforts in years to come (`A Streetcar Named Desire' and `East of Eden'), which is hardly fair. So much heart has gone into this emotional piece of Americana - notably its flawless attention to detail and its ultra-sensitive, Oscar-nominated screenplay -- that it deserves equal attention. Superb in every aspect.
`A Tree Grows in Brooklyn,' from Betty Smith's poignant novel, is able to capture the essence of the author's words not only because of its trenchant
writing, but because of three remarkable, beautifully-realized performances. Peggy Ann Garner offers one of the most astonishing child performances ever, finding the very spirit of this 12-year-old child going on 21. Blessed with one of the most expressive faces witnessed on camera, her eyes are sheer poetry and alone speak volumes as Francie, a young girl devoted to her ailing, debilitating father and brutally distant from an unnurturing mother she partially blames. It is such a complete performance. Her steadfast growth in this film is beautiful to observe as she begins to spread her branches and assume her rightful place in life sooner than expected. Garner is simply unforgettable.
James Dunn, as Jimmy Nolan, leaves an indelible impression as the amiably charming ne'er-do-well, a solitary dreamer who has frittered his life away, as well as his family's money. Despite the cruelties of his actions, your heart aches for this man. His touching scenes with daughter Francie reveal his innate goodness and its heart-wrenching to watch him dissolve before your very eyes. Even a treasured bond with his idolizing daughter isn't enough for him to fight hard enough to forego the liquor bottle and regain his place at the head of the table. It is an unbearably sad decline, one that haunts you long after the picture is over. Both Dunn and little Peggy Ann would never find movie roles like these again, and earned well-deserved Oscars (Peggy actually copped a 'special juvenile' award) for their work here.
In an exceptionally careful and astute performance, Dorothy McGuire plays the necessary heavy here, the taciturn, seemingly cold-hearted matriarch Katie Nolan, who is also this family's hope and salvation. Unable to trust her husband or afford him the time and patience he desperately needs, she has ultimately abandoned her love for him out of necessity, what with two children and a third on the way, and no viable means to support them. Ms. McGuire, in a career best performance, serves up a somber, beautifully restrained portrait of a flawed, modest, uneducated, somewhat ignoble woman handling life the only way she knows how, and expecting little in return. McGuire, who was only 27 at the time this was filmed, easily nixes any comments that she is too young for the part by displaying a strong, careworn maturity well beyond her years.
Joan Blondell, as only Joan Blondell can, puts some oomph in the drab and dreary proceedings as Katie's gregarious sister, Sissy, who juggles husbands in her ever search for the right man, and earns the scorn of the town in her reckless, law-breaking pursuit. Blondell manages to give the film a breath of fresh air everytime she appears, though her character's development is choppy in its transition. Her story, unfortunately, gets lost midway and never truly kicks back in. Little Ted Donaldson as younger brother Neeley contributes fine work also, but is another victim of the primary focus the film decides to takes -- Garner's Francie is rightfully the heart and soul of the piece and she is quite up to the task.
Despite being robbed of a best picture that year (I mean, really, "Anchors Aweigh" and "Mildred Pierce" were nominated over it??) and the fact that Ms. McGuire was overlooked completely, it is slowly earning the attention it deserves. It should be in the top "20" of anybody's movie lists. For me, this movie is most effective come the yuletide season. It is that touching and meaningful.
The 1974 TV-remake of "A Tree Grows in Brooklyn" starring Cliff Robertson and Diane Baker is a mere sapling compared to this giant oak of a film.
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