Katherine Locke Movies

Based on a novel by Francoise Sagan, A Certain Smile was a vehicle for Darryl F. Zanuck's latest protegee, Christine Carere. Parisian student Carere spats with her boyfriend Bradford Dillman, then impulsively agrees to accompany Dillman's worldly uncle Rossano Brazzi to the Riviera. At first thrilled at the prospect of an affair with the dashing Brazzi, Carere is disillusioned to discover that she is the latest in a long line of "diversions" for the old charmer. After a heart-to-heart with Brazzi's patient wife (Joan Fontaine), Christine returns to her boyfriend. The title song for A Certain Smile became a hit for Johnny Mathis, who sings the tune over the film's opening credits. ~ Hal Erickson, Rovi

People Will Talk was less a movie than a conduit for the genteel liberalism of screenwriter/director Joseph M. Mankiewicz. Cary Grant plays Dr. Praetorius, an unorthodox medical professor at a sedate midwestern college who seems more interested in the human soul than in the cold facts of the human body. Praetorius' nemesis is a conservative rival doctor (Hume Cronyn) who presses for an investigation of our hero's clouded past--with special emphasis given the mysterious old man (Finlay Currie) who lives with Praetorius and waits on him hand and foot. In the course of the film, Praetorius falls in love with one of his students, an unmarried pregnant girl (Jeanne Crain). At the climactic hearing concerning Praetorius' fitness, the presiding judge (Basil Ruysdael) decides that Praetorius' "modern" methods are more worthwhile than the pragmatic, cut-and-dried theories of his enemies. Based on a German play by Curt Goetz, People Will Talk is a bit too proud of its own cleverness, with Mankiewicz' political planks being wedged in at all the inappropriate times (while conversing with the father of the pregnant girl, Praetorius launches on a gratuitous attack against farm subsidies!) Still, the film is ten times more intelligent than most of Hollywood's 1951 output, and contains one of Cary Grant's best and subtlest seriocomic performances. Bonus: In the first scene of People Will Talk, the snoopy lady who brings Praetorius' "shady" past to the attention of Hume Cronyn is played by an uncredited Margaret ("Wicked Witch of the West") Hamilton. ~ Hal Erickson, Rovi

"A woman loses her mind and is confined to a mental institution." That's the usual TV-listing encapsulation of The Snake Pit -- and like most such encapsulations, it only scratches the film's surface. Olivia de Havilland stars as an outwardly normal young woman, married to loyal, kindly Mark Stevens. As de Havilland's behavior becomes more and more erratic, however, Stevens comes to the sad conclusion that she needs professional help. She is sent to an overcrowded state hospital for treatment -- a curious set-up, in that, while de Havilland is treated with compassion by soft-spoken psychiatrist Leo Genn, she is sorely abused by resentful matrons and profoundly disturbed patients. Throughout the film, she is threatened with being clapped into "the snake pit" -- an open room where the most severe cases are permitted to roam about and jabber incoherently -- if she doesn't realign her thinking. In retrospect, it seems that de Havilland's biggest "crime" is that she wants to do her own thinking, and that she isn't satisfied with merely being a loving wife. While this subtext may not have been intentional, it's worth noting that de Havilland escapes permanent confinement only when she agrees to march to everyone else's beat. Amazingly, Olivia de Havilland didn't win an Academy Award for her harrowing performance in The Snake Pit (the only Oscar won by the film was for sound recording). While some of the psychological verbiage in this adaptation of Mary Jane Ward's autobiographical novel seems antiquated and overly simplistic today, The Snake Pit was rightly hosannahed as a breakthrough film in 1948. ~ Hal Erickson, Rovi

Producer Darryl F. Zanuck had high hopes that Wilson would immortalize him in the manner that Gone With the Wind did for David O. Selznick. The notion of bringing the life story of Woodrow Wilson, 28th president of the United States, to the big screen was a labor of love for Zanuck, and accordingly the producer lavished all the technical expertise and production values he had at his disposal. Though Alexander Knox seems a bit too robust and overnourished for Wilson, his is a superb performance, evenly matched by those of Ruth Nelson as Wilson's first wife Ellen, Geraldine Fitzgerald as second wife Edith, Thomas Mitchell as Joseph Tumulty, Sir Cedric Hardwycke as Henry Cabot Lodge, Vincent Price as William Gibbs McAdoo, Sidney Blackmer as Josephus Daniels, and the rest of the film's enormous cast. The story begins in 1909, a time when Wilson is best known as the head of Princeton University and the author of several books on the democratic process. Urged into running for Governor of New Jersey by the local political machine, Wilson soon proves that he is his own man, beholden to no one-and that he is dedicated to the truth at any cost. From the governor's office, Wilson is nominated as the Democratic presidential candidate, an office he wins hands-down over the factionalized Republicans. The sweetness of his victory is soured by the death of his wife Ellen, but Wilson ultimately finds lasting happiness with Edith Galt. When World War I breaks out in Europe, Wilson vows to keep America out of the conflict, despite pressure from such political foes as Henry Cabot Lodge (who is depicted as a thoroughly unsympathetic power broker). After being elected for a second term, however, Wilson finds it impossible to remain neutral, especially in the wake of the Lusitania sinking. Reluctantly, he enters the war in April of 1917. Deeply disturbed by the mounting casualties, Wilson decides that, after the Armistice, he will press for a lasting peace by helping to organize a League of Nations. Unfortunately, the isolationist congress, urged on by Lodge and his ilk, refuses to permit America's entry into the League. His health failing, Wilson nonetheless embarks on a whistle-stop tour, imploring the public to support the League of Nations and Wilson's 12-point peace program. During this campaign, he is felled by a stroke, whereupon Mrs. Wilson begins acting as liason between the president and the rest of the country (the commonly held belief that Edith Galt Wilson virtually ran the nation during this crisis is soft-pedalled by Lamar Trotti's script). All hopes for America's joining the League of Nations are dashed when, in the 1920 election, the Republicans gain control of the White House. The film ends as the ailing but courageous Woodrow Wilson bids farewell to his staff and walks through the White House doors for the final time. Idealistically ignoring the negative elements of the Wilson regime (notably his attitudes toward racial relationships), Wilson is not so much a biography as a paean to the late president. Though too long and overproduced, the film survives as one of Hollywood's sturdiest historical films of the 1940s. However, audiences did not respond to Wilson as Zanuck had hoped; the film was a terrific flop at the box office, so much so that it was for many years forbidden to speak of the project in Zanuck's presence. Still, Wilson garnered several Academy Awards: best original screenplay, best color art direction (Wiard Ihnen), best color cinematography (Leon Shamroy), best sound recording (E. H. Hansen), best film editing (Barbara McLean) and best color set decoration (Thomas Little). ~ Hal Erickson, Rovi