She was inimitable.
No Sad Songs for Me (1950)
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moira finnie
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No Sad Songs for Me (1950)
They're running the last of Margaret Sullavan's handful of films tonight on TCM at midnight, Dec. 21st. No Sad Songs for Me (1950), which received mixed critical reception when it was released, is one of the few Sullavan movies I've yet to see. Since it also features a gawky Natalie Wood during her transitional phase, and the underulitized Viveca Lindfors, I'm quite interested--even if it is a weepie. I hope that others will see it or record it and share their observations.
She was inimitable.
She was inimitable.
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moira finnie
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Cool, Jezebel. Thanks for letting me know your intention to watch. It will be good to have at least one other person to share our thoughts on this one.
If you visit the TCM Media Room here, you can see the Trailer for this one listed under the tab listing "Playing Today on TCM" on the lower right.
If you visit the TCM Media Room here, you can see the Trailer for this one listed under the tab listing "Playing Today on TCM" on the lower right.
moira,
Can't say I know the film, but based on your good taste, it's got to worth a peek. I looked at my watch, ran downstairs and hit the record button on the TiVo just as the music to Bob's intro was starting. Was that close or what? I'll be busy with Christmas, but I don't go back to work until January 2nd, so I'll add it to my "must see" list for the latter part of next week.
Merry Christmas!
Mark
Can't say I know the film, but based on your good taste, it's got to worth a peek. I looked at my watch, ran downstairs and hit the record button on the TiVo just as the music to Bob's intro was starting. Was that close or what? I'll be busy with Christmas, but I don't go back to work until January 2nd, so I'll add it to my "must see" list for the latter part of next week.
Merry Christmas!
Mark
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moira finnie
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Here are my initial impressions, though I still want to think a bit about what Margaret Sullavan did in this movie, which seemed quite moving to me.
Margaret Sullavan's performance was so good and restrained, compared to many others in the film, (notably poor Wendell Corey as her husband), that it was touching, but a bit like the proverbial thoroughbred horse pulling a junk wagon. Still, she was so exceptional that the lost sleep was worth it for me. I loved the way that her character was truly able to convey the impression of thought, as though she had a true inner life that no one else, least of all her husband and doctor, knew much about.
The usually lovely Viveca Lindfors part and her hairstyle were underwritten and apparently "shorn" of much interest. I realize that the early '50s was not a good time for the tonsorial arts, but jeepers, how could they do this to such a beautiful woman?
Poor Natalie Wood as the daughter. She was going through the same phase of acting that seemed to afflict her in another movie of that year, Our Very Own (1950). She talked too much and was way too self-conscious in her every gesture. Ah, puberty, what a godawful time of one's life that was. Hey, at least Ms. Wood emerged as a true swan after this ugly duckling phase. Oh, and speaking of hair, could those braids have been done a little less tightly?
Overall, I'd recommend it to anyone who's susceptible to Margaret Sullavan's elusive, hard to define gifts. Interesting that the Number 2 movie chosen by people in a recent poll on TCM's website for "films that need to be transferred to dvd" was The Mortal Storm (1940), which is probably one of her very best movies.
From what I see posted on TCM this afternoon, the film was not a hit with all, but I liked it because of her.
Margaret Sullavan's performance was so good and restrained, compared to many others in the film, (notably poor Wendell Corey as her husband), that it was touching, but a bit like the proverbial thoroughbred horse pulling a junk wagon. Still, she was so exceptional that the lost sleep was worth it for me. I loved the way that her character was truly able to convey the impression of thought, as though she had a true inner life that no one else, least of all her husband and doctor, knew much about.
The usually lovely Viveca Lindfors part and her hairstyle were underwritten and apparently "shorn" of much interest. I realize that the early '50s was not a good time for the tonsorial arts, but jeepers, how could they do this to such a beautiful woman?
Poor Natalie Wood as the daughter. She was going through the same phase of acting that seemed to afflict her in another movie of that year, Our Very Own (1950). She talked too much and was way too self-conscious in her every gesture. Ah, puberty, what a godawful time of one's life that was. Hey, at least Ms. Wood emerged as a true swan after this ugly duckling phase. Oh, and speaking of hair, could those braids have been done a little less tightly?
Overall, I'd recommend it to anyone who's susceptible to Margaret Sullavan's elusive, hard to define gifts. Interesting that the Number 2 movie chosen by people in a recent poll on TCM's website for "films that need to be transferred to dvd" was The Mortal Storm (1940), which is probably one of her very best movies.
From what I see posted on TCM this afternoon, the film was not a hit with all, but I liked it because of her.
I must be a very hard hearted wretch because I really didn't find this movie all that sad. Sullavans voice, for once, which generally causes me to want to turn off the sound, was helpful since from the doctors minor remark about watching out for her throat problem, I assumed she had throat cancer. I thought she was selfish about sharing her grief. That may sound funny, but she had been married for several years, and it seemed like a good solid teaming, so why would you not want his support? At first yes, you keep it to yourself in order to learn to deal with it, but after a while, he needs to know how to handle the grief of of both himself and their daughter, and if he hasn't had time to do that, what good will he be to Natalie? Essentially, she was leaving her child to a complete stranger at the absolute worst time of the child's life.
As I said, Sullavans' voice drives me nuts, just like Jean Arthurs' is so high pitched and childlike, Sullavan sounds like she swallowed gravel that morning and has a permanent scratchy sore throat. Another thing is, lets face it, a reasonable amount of self pity has to be present, and no matter how much a martyr she may be, with that kind of problem, you're never so 100% level headed, and sooner or later, you're going to say, 'What about me'. Even though you haven't told him, you're going to be angry that he's messing around with another woman when you're so sick. I agree that sounds stupid, but that is exactly how a normal person would act and feel, and though she was a fine woman, she, wasn't a saint.
I agree about Viveca and the hair style, but let's face it, they left Sullavan in that stupid dutch boy hair style for years, just like they did Garbo, so why would they allude to Linfors beauty?
Wendell never seems to know what to do with himself other than wring his hands together. I really feel sorry for him when he's up against Mitchum in A Holiday Affair - what a mis match that is!!! Long and lanky plain looking Wendell opposing well built, sexy Bobbyo-o-o. Ha-Ha.
You're right about Natalie too, but she sure stuck with it - She's one of the great tragedies of my generation.
I thought the movie was relatively good, but not necessarily sad. There were no truly climactic moments in it, other than when the Doc told her about her condition, and later when she cried, but other than that, she didn't let you feel any more sorry for her than she allowed her family to. I'm sorry but when I had my stroke and needed surgery, I wanted my family around me, if I knew I was dying, I would definitely want them to be there. One last thing, how will he feel after a couple of months again knowing he was messing around with the lovely Viveca, while his wife, who he did love, was dying and alone? He'll feel like the proverbial piece of s***. So, in that case, she was like punishing him from the grave.
Anne
As I said, Sullavans' voice drives me nuts, just like Jean Arthurs' is so high pitched and childlike, Sullavan sounds like she swallowed gravel that morning and has a permanent scratchy sore throat. Another thing is, lets face it, a reasonable amount of self pity has to be present, and no matter how much a martyr she may be, with that kind of problem, you're never so 100% level headed, and sooner or later, you're going to say, 'What about me'. Even though you haven't told him, you're going to be angry that he's messing around with another woman when you're so sick. I agree that sounds stupid, but that is exactly how a normal person would act and feel, and though she was a fine woman, she, wasn't a saint.
I agree about Viveca and the hair style, but let's face it, they left Sullavan in that stupid dutch boy hair style for years, just like they did Garbo, so why would they allude to Linfors beauty?
Wendell never seems to know what to do with himself other than wring his hands together. I really feel sorry for him when he's up against Mitchum in A Holiday Affair - what a mis match that is!!! Long and lanky plain looking Wendell opposing well built, sexy Bobbyo-o-o. Ha-Ha.
You're right about Natalie too, but she sure stuck with it - She's one of the great tragedies of my generation.
I thought the movie was relatively good, but not necessarily sad. There were no truly climactic moments in it, other than when the Doc told her about her condition, and later when she cried, but other than that, she didn't let you feel any more sorry for her than she allowed her family to. I'm sorry but when I had my stroke and needed surgery, I wanted my family around me, if I knew I was dying, I would definitely want them to be there. One last thing, how will he feel after a couple of months again knowing he was messing around with the lovely Viveca, while his wife, who he did love, was dying and alone? He'll feel like the proverbial piece of s***. So, in that case, she was like punishing him from the grave.
Anne
Anne
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Mr. Arkadin
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I'm personally one of those people who loves Sullavan's voice. It was husky, yet had a breathy quality that was quite unusual and had the ability to pull you in closer to what she was saying.
For someone who loved the theatre, she definitely understood the difference between the stage and the camera. Sullavan is one of the best actresses who could use just her face to express what was behind her dialogue. She could also play everything from comedy to dramatic roles and make each one believable and individualistic from any other actress. Love or hate her, she always had a style that was completely her own and unique.
As for her character in this film, it was not too disimilar to other roles she played where she was willing to sacifice herself for her loved one's happiness. This was a theme that MS returned to again and again and I must believe she had some personal convictions about these parts because of how often they appear in her work.
While some people might find her concealment of her illness unbelievable, I've known people who have actually done such things. Many times they don't want people to pity them or treat them differently than they have previously. Sullavan must have felt the same. When she realized she was losing her hearing completely and would not be able to do what she loved (acting), she committed suicide.
For someone who loved the theatre, she definitely understood the difference between the stage and the camera. Sullavan is one of the best actresses who could use just her face to express what was behind her dialogue. She could also play everything from comedy to dramatic roles and make each one believable and individualistic from any other actress. Love or hate her, she always had a style that was completely her own and unique.
As for her character in this film, it was not too disimilar to other roles she played where she was willing to sacifice herself for her loved one's happiness. This was a theme that MS returned to again and again and I must believe she had some personal convictions about these parts because of how often they appear in her work.
While some people might find her concealment of her illness unbelievable, I've known people who have actually done such things. Many times they don't want people to pity them or treat them differently than they have previously. Sullavan must have felt the same. When she realized she was losing her hearing completely and would not be able to do what she loved (acting), she committed suicide.
Last edited by Mr. Arkadin on December 23rd, 2007, 3:26 pm, edited 2 times in total.
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moira finnie
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Hi Anne,I thought she was selfish about sharing her grief. That may sound funny, but she had been married for several years, and it seemed like a good solid teaming, so why would you not want his support? At first yes, you keep it to yourself in order to learn to deal with it, but after a while, he needs to know how to handle the grief of of both himself and their daughter, and if he hasn't had time to do that, what good will he be to Natalie? Essentially, she was leaving her child to a complete stranger at the absolute worst time of the child's life. ~MrsL
I do think that you have a very interesting point about Margaret Sullavan's character being selfish. Still, I thought that it reflected the fact that, in a sense, knowing that she was going to die liberated her character from her conventional life. She'd been a good wife and loving mother, and, for the first time, she was confronted with a situation that couldn't be solved, but needed to be faced--and though we like to think we can prepare others for our passing, ultimately it may not be possible to neaten up things--though finding another potential wife for your hubby may seem like a fine thing--I sure don't think it's necessarily a good idea, even in a '50s movie.
The end of life and the Sullavan character's comprehension of the enormity of what she faced may have been the first time that this woman experienced something wholly her own--it wasn't defined by her relationship with a man or a child. As a matter of fact, her seeming brusqueness and refusal to allow her doctor to shroud her illness in mystery, seemed to be part of her attempt to cope and to truly feel something without anyone else defining how she should feel. That probably is selfish, but Sullavan did, imho, convey something contradictory and very human in this movie that is probably why--despite the bathetic qualities on display--her acting was on another plane. I particularly liked the way that her impending end made all the events of everyday life more precious at the same time that the trivialities fell away as she focused more clearly on her passing. She wasn't a flawless person, but may have been one who was doing the best she could.
Gee, Margaret Sullavan's voice is appealing to my ear and is one of the reasons I've always liked her. To each his or her own, once again, I guess...
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Moraldo Rubini
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Melancholy Baby
I made sure to catch this on the other night as I just haven't seen enough Margartet Sullavan, and I was curious to see her work from the 1950's. You can add me to the list of those who love her voice. That felt timbre is one of her best attributes. I didn't think she felt comfortable on the screen in this one though. It seemed to me as if she were playing it for the stage; her interpretation seemed false to me. I loved Viveca Lindfors, and didn't feel that her style (or lack thereof) impeded her character. It seemed right to me, that this outdoorsy woman who didn't mind slogging through the mud and working in the rain or eating beside a campfire would have a utilitarian coiffure. And it made an interesting juxtaposition to Sullavan's impeccably groomed matriarch.
**SPOILER** The biggest shock to me was the suddeness of her death. She's dancing in Mexico and looking rather vivacious when the phone rings at the homestead announcing her death. I was surprised she wasn't given a noble death scene (with Max Steiner-like angels singing). It seemed rather anti-climactic and a bit like they'd misplaced the last three pages of the script.
There were times when I wished Universal had bought the rights to this and given it do Douglas Sirk.
**SPOILER** The biggest shock to me was the suddeness of her death. She's dancing in Mexico and looking rather vivacious when the phone rings at the homestead announcing her death. I was surprised she wasn't given a noble death scene (with Max Steiner-like angels singing). It seemed rather anti-climactic and a bit like they'd misplaced the last three pages of the script.
There were times when I wished Universal had bought the rights to this and given it do Douglas Sirk.
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Mr. Arkadin
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Hi Moraldo, Three Comrades (1938) is my personal favorite of her work (and made my top 25).
I personally never thought a movie could equal Erich Maria Remarque's prose, but Sullavan's acting along with Borzage's beautiful soft lens camerawork, make for an incredible film.
Like Renoir's The Grand Illusion made only a year before (I would rank Three Comrades as good as Renoir's masterpiece), this film provides a touchstone between the two World Wars, grieving the loss of innocence in one, while darkly anticipating the second war to come. Most historians agree that WWII was just a continuation of the first World War. These two films, made in the era between them, definitely seem to confirm this theory.
As Moira said, The Mortal Storm (1940) is a better known film (incredible in it's own right) and was voted to be released on video, but Three Comrades has always been it's superior in my eyes. While I don't think Sullavan had as good leading men as in Storm (Robert Young is great in both films), it's her acting that propels the film and raises the credibility level of her costars. We grow to love her, and thus believe in their love for her.
In a world of trends and cookie cutter performers, Sullavan definitely stood alone. While some may not enjoy her unique traits, I think it's those very qualities that set her apart and established her as one of the great actresses.
I personally never thought a movie could equal Erich Maria Remarque's prose, but Sullavan's acting along with Borzage's beautiful soft lens camerawork, make for an incredible film.
Like Renoir's The Grand Illusion made only a year before (I would rank Three Comrades as good as Renoir's masterpiece), this film provides a touchstone between the two World Wars, grieving the loss of innocence in one, while darkly anticipating the second war to come. Most historians agree that WWII was just a continuation of the first World War. These two films, made in the era between them, definitely seem to confirm this theory.
As Moira said, The Mortal Storm (1940) is a better known film (incredible in it's own right) and was voted to be released on video, but Three Comrades has always been it's superior in my eyes. While I don't think Sullavan had as good leading men as in Storm (Robert Young is great in both films), it's her acting that propels the film and raises the credibility level of her costars. We grow to love her, and thus believe in their love for her.
In a world of trends and cookie cutter performers, Sullavan definitely stood alone. While some may not enjoy her unique traits, I think it's those very qualities that set her apart and established her as one of the great actresses.