Monday, May 16, 2011

CMBA Classic Movies of 1939 Blogathon: The Light That Failed

A great actor who understood his limitations, Ronald Colman must have realized in 1939 that his days as a romantic lead were numbered. At age 48, he had just completed an incredible decade in which he drew critical and popular acclaim for classics such as A Tale of Two Cities (1935), Lost Horizon, and The Prisoner of Zenda (both 1937). He displayed his versatility by playing a swashbucker (Under Two Flags), a romantic poet (If I Were King), and a thinking man's hero (Sydney Carton in A Tale of Two Cities).

Although memorable roles still awaited--including a romance for the ages in Random Harvest and an Oscar for A Double Life--1939 marked a turning point in Colman's career. He made fewer films in the 1940s and appeared content to let other actors assume the mantle of romantic hero. What better way to make such a transition than as the melancholy artist hero of Rudyard Kipling's first novel The Light That Failed?

William Wellman's film version begins in England in 1865 with a sweet prologue in which childhood sweethearts Dick and Maisie decide to become artists when they grow up. When Dick learns of Maisie's pending departure, the two youngsters pledge to always love one another.

Years later, Dick (Colman) has become a war correspondent in the Sudan, drawing battle scenes for the newspapers back in England. He suffers a serious head injury when he saves the life of his friend, Torpenhow (Walter Huston). Months later, he learns from "Torp" that his drawings have garnered critical acclaim back home. Upon his return to England, Dick becomes a popular artist whose paintings of British soldiers in the Sudan fetch a handsome price.

While walking one Sunday afternoon, Dick encounters Maisie, who is struggling to achieve any kind of success as an artist. They gegin to meet weekly to discuss art and Dick quickly realizes he has never stopped loving her. However, when he expresses his feelings to Maisie, she decides to leave for Paris. Although she values their friendship (and his artistic advice), she is dedicated to her artistic career.

At the same time, Dick loses his zest for painting, sometimes altering his original artistic vision simply to make his work more commercially viable. He becomes interested in painting again when he meets Bessie, a barmaid romantically involved with Torp. With Bessie as his model, Dick begins to paint again, though his work still lacks passion. It's only when he learns of an impending tragedy that he is able to channel his loneliness--and grief over losing Maisie--into his artistic masterpiece.

Dick cradling Binky in his arms.
Though always interesting, The Light That Failed is a flawed film that works best as a portrait of an artist. Dick's ability to interpret and capture the emotions of others through his art contrasts sharply with his struggles to maintain his own relationships. Torp is his only close friend if one excludes the loyal Scottish Terrier, Mr. Binkles (aka Binky), that adopts him. Maisie values him as a friend and critic, but his love for her seems to be based on a memory of when they were young (he even mumbles her name while recovering from his head injury...long before meeting her again as an adult). As for Bessie, he calls her a "little piece of nothing" at one point, then tries to buy her help later when he needs it. The role is ideal for Colman, who doesn't hesitate to show Dick's cruel side, especially when he berates Bessie and destroys any chance of her having a long-term relationship (albiet slight) with Torp. But he also shows Dick's unselfishness, such as when he poignantly lets Maisie and Torp "off the hook" by sending them away when he needs them the most.

Ida Lupino as Bessie.
Walter Huston and Ida Lupino, as Bessie, deliver strong supporting roles in what is essentially a four-character play. Allegedly, Colman wanted Vivien Leigh to play Bessie, but it's hard to imagine anyone other than Lupino. She captures both the vulnerability and pettiness of the street-living Bessie. The one weak link, in terms of both performer and character, is Muriel Angelus as Maise. Her character's only endearing quality is her love for her art. She begs Dick for constructive criticism of her paintings, but then has trouble accepting it. When Dick needs her the most--and then offers her a way out--she takes it. There's no obvious selfishness to her actions; it's just that her total focus is on her work and that blinds her to the needs of others.

Director William Wellman once said: "The best director is the director whose handprints are not on the film." Indeed, Wellman always adapted his visual style to fit his films. In this case, The Light That Failed comes across as a rather stagy affair, with many scenes taking place in Dick's apartment/studio. That approach is certainly consistent with Dick's introspection, but leaves the viewer with the impression of having watched a stage play. Still, it works well in some scenes, such as when Dick receives bad news in a doctor's office, with a clock ticking loudly in the background, reminding Dick (and us) that time has already started running out.

Kipling's novel The Light That Failed was published in 1890 in installments in Lippincott's Monthly Magazine. It provides more backstory to Dick's character, tracing his upbringing as an orphan (which explains why making money on his paintings is important to him). The novel was filmed previously in 1916 and 1923.

The 1939 Colman version isn't a great film, but it's a very good one that provides an ideal opportunity to watch a wonderful actor in a juicy role. Yet, while The Light That Failed, as a whole, almost achieves classic status, it falls just short. Its flaws are encapsulated in the closing scene. On the surface, it's a moving display of gallantry and freedom. However, as one ponders the ending, it's also a depressing testament to one who has given up on life.


Click here to check out the the awesome reviews written by my fellow CMBA members as part of the Classic Movies of 1939 Blogathon!

24 comments:

  1. A good film in 1939 is a great film in any other year! It's hard to imagine a better cast, and Colman is always perfection - no matter what he is doing. I remember being very affected by this film when I first saw it and your review makes me want to hunt it down and watch it again!

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  2. I hope I can see this one soon, your review is very interesting. Great cast, though I like Colman in pretty much everything he did.

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  3. When you say it's hard to imagine anyone but Lupino as Bessie, you have hit, for me, the drawing power of "The Light That Failed".

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  4. It's only in my 'old' age that I've come to fully appreciate Ronald Colman. I ADORED him in THE PRISONER OF ZENDA (Loved the Stewart Granger version too, but Colman just had such an aura about him.)

    A great review of a film I haven't seen in ages, but appreciate reading about.

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  5. With that cast and director, I think I would enjoy this film if I ever saw it. With TCM running more Paramount titles of late, I hope they show it soon.

    Ida Lupino had a good role in another Victorian melodrama that year, "The Adventures of Sherlock Holmes."

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  6. A great, detailed review which makes me want to watch this again. I found this a powerful film, despite only being able to watch it in a dodgy copy where the sound was much too quiet, with devastating performances by both Ida Lupino and Ronald Colman. Lupino's character reminds me of the character Bette Davis plays in 'Of Human Bondage' - there's that same bitterness against the artists exploiting them but not really seeing them as women.

    I do agree that the ending is a weakness, but that ending is also there in the book, and to me this is still a great film. On the childhood scene with suggestions of what is to come for the characters in adulthood, Wellman did the same thing in his film made earlier the same year, 'Beau Geste', which is also wildly noble.

    You don't by any chance happen to know who did the painting of Lupino featured in this film, do you? I've been wondering if it was John Decker, who did the paintings in 'Scarlet Street', but haven't been able to find out.

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  7. In some ways The Light That Failed is a schizoid film, because you have the restrained, stiff-upper-lip performance by Colman, Huston, & Angelus, and set against them is the blazing fury of Ida Lupino in her breakthrough role (can't see Leigh in this part at ALL). You make an interesting point about how stagy the movie looks, which may be why it seems slow-moving at times. But it's still a beautifully done film, and all the actors are invested in their roles; I particularly like Pedro De Cordoba's bit as Colman's drunken artist friend who runs a cafe. Thanks for such a great review.

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  8. I haven't seen this one yet. Ronald Colman is not my cup of tea...I know...maybe I should give him another opportunity and see this one...I just wanted to comment Wellman's quote: "The best director is the director whose handprints are not on the film." What do you think about it? I think that's very subjective. I love Hitchcock, Wilder and Mankiwicz's films because they're full of their handprints :) Maybe it applies to the films from directors you hate :P

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  9. I love your pick of the list, Rick! I have not had the opportunity to see this in a very long time, when I was pretty young, so I can't really speak to the issues that result in your considering it almost-but-not-quite. My memory of it is a good one. I have always thought Ronald Colman to be a great actor in his serious roles -- especially A Tale of Two Cities, Lost Horizon and his real masterpiece of acting, A Double Life. I never liked the movies in which he was playing comedy at all! Ida Lupino has over the years become a favorite for me -- I don't think she ever gave a bad performance, and usually carried whatever movie she was in.

    Your post reminded me of another movie made from a classic novel, Somerset Maugham's "The Moon and Sixpence" with George Sanders playing the Gauguin-inspired character. One of Maugham's best novels, this was my favorite of the artist genre movie.

    Your insights and information were excellent, Rick, and this is a wonderful addition to the blogathon!

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  10. If you were to ask anyone to name their favorite Coleman or Lupino film I doubt The Light That Failed would come to mind but who knows. No, it wasn't the best film but the actors did their best in a pretty difficult year to try and stand out with such iconic films released.
    I really appreciate your honest and thoughtful review on this one.
    Page

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  11. Judy, I don't know who did the painting, but agree there was a similarity between the "bad girls" in this film and OF HUMAN BONDAGE. Clara, I like Wellman's quote, but would add that certain directorial styles obviously work better with certain films. For example, I think Kubrick adopted Wellman's approach for SPARTACUS (although the fact that he replaced Mann after the film started had an impact, too)....while Kubrick's direction in something like THE SHINING draws attention to itself. Becky, I always enjoy Ronald Colman and thought he was a deft light comic actor; CHAMPAGNE FOR CAESAR may be my favorite of his movies.

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  12. Well, everybody has the right to their own opinion -- but mine is better than yours. LOL! (Can I still write for the Cafe now?)

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  13. Becky, there will always be booth, a cup of coffee, and a warm croissant waiting for you at the Cafe. Plus, differing opinions on films make for interesting, entertaining discussions. (But CHAMPAGNE is a very funny film!)

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  14. Just one more little comment, Mr. Rick -- I bow (just a little bow) to your opinion as creator of one of the best CMBA blogs ever. I say ONE of the best since there IS another excellent one I know of....

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  15. There have been moments as a fan of classic films that have left me chasing “elusive” scenes glimpsed and somehow never forgotten. The reason these images remained impressions and separate from the complete film could have been that I was too young to stay up and watch the entire story, or I caught only these brief glimpses on late, late night television after being out for the night. Carole Lombard and Fred MacMurray whispering to each other and the night across an apartment balcony. Merle Oberon and Alan Marshall snug in their island winter before he abandons her. Ida Lupino and Ronald Colman enraged with one another as she condemns the portrait he has painted of her. Thank you, Rick, for helping me to put a name to a film that has long eluded me. Your insights regarding the artistic temperament and spiritual egotism are very perceptive, and the background on Kipling's original story is both entertaining and informative.

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  16. Rick, this is a very insightful review and I happen to share most of your opinions. The weakest performanace, and possibly, role, is Maisie, as an adult. She had more fire as a child in the introductory scene. Ida Lupino is unforgettable as Bessie and as Judy mentioned her character is reminiscent of Bette Davis's Mildred from "Of Human Bondage" who "wiped her mouth" when poor Leslie Howard's Phillip kissed her.

    I love Wellman's observation about direction. When direction calls attention to itself it can detract from its main function: to move the story along. That doesn't mean that occasionally you won't find your socks knocked off by brilliant cinematography. Or that you won't salute when the director becomes auteur like Hitchcock. But that is the gift of knowing how to direct. Great blog, everyone!

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  17. Rick, an incisive review that is especially strong in its analysis of the two main characters. That quotation from Wellman is a really interesting one to me because I generally find his films to be lacking in some way, and that attitude may help explain it. I've seen great movies where the director dominated the material with a strong personality--the auteurs like Ford, Hawks, and Welles--and others where the director stood back and let the material and actors do all the work (or at least appear to)--people like William Wyler and George Cukor. But Wellman strikes me as a director who seldom managed to exploit the potential of the material fully. (The exception is his version of "A Star Is Born," which I think is a great picture.) Thus his movies have wonderful performances--Loretta Young in "Midnight Mary," Carole Lomabard in "Nothing Sacred," Henry Fonda in "The Ox-Bow Incident" are examples that come to mind--that outshine the movies they're in. This movie I haven't seen but really want to, mostly because I like Colman's performances of the 30s a lot and because I adore Lupino. Your excellent review confirms what I've heard elsewhere, that it would be worthwhile viewing if I just don't set my expectations too high

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  18. Great review.. to what sounds like a very emotional film. Hopefully, TCM will air it soon.

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  19. I have not seen this but will need to look for it, as I'm a Ronald Colman fan and am trying to watch everything he's made. Always insightful anaysis, Rick.

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  20. Like R.D. said, Wellman seems to be able to extract wonderful performances from his actors. I have not seem this film but I am a big fan of Ida Lupino will have to keep an eye out for it. A great look at this film, Rick.

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  21. I enjoyed reading your review, Rick. And I agree that many of Colman's strongest romantic performances were in the 30s, but I have to say I also loved him in The Talk of the Town in 1942. Hard to choose who to root for in that one--Colman or Cary Grant!

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  22. I'm such a fan of Ronald Colman that I can't even vote on this week's poll - for me a four-way tie between "A Double Life," "Lost Horizon," "The Prisoner of Zenda" and "A Tale of Two Cities." I haven't seen "The Light That Failed," but a film adaptation of Kipling with Colman, Walter Huston and Ida Lupino is of definite interest to me. As for Wellman, I've never gotten much of a sense of his style, which I now understand is apparently is due to his intent to leave no fingerprints. Excellent review, Rick, I'll look for this one.

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  23. I just happened to see your comment, Eve, and I'm having the same trouble with the Colman poll! I did get it narrowed down to Tale of Two Cities and A Double Life, but now I don't know WHAT to pick!

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  24. Rick, I'm glad I finally had a chance to catch up with your review of THE LIGHT THAT FAILED, since Ronald Colman had been one of my mom's favorite actors. You've got me intrigued enough to give the film a look next time I come across it on TCM or the like! Nice work!

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