![]() Director William Wyler never lets up, and what may sound like a staid, potentially boring story is anything but that it flies by in its 115 minute run time. The film shows the damage one can do by being too blunt with one's (truthful) candor, in addition to that done by the opposite, being deceitful. The themes of love, trust, acceptance of another's shortcomings, and supporting them just the same are all in play here. There is such depth of emotion here, and the film highlights those moments in life where everything may pivot based on a few actions or comments. We really don't know how it's going to play out, and I won't spoil it, except to say that it's brilliant, especially the ending. I just love the eloquent way they speak, expressing their viewpoints and emotions candidly, but always politely, even if pointedly. The exchanges between Richardson and Clift, father and potential son-in-law, are fantastic. ![]() ![]() One can really see why she earned the second of her two Oscars with this performance. To see her character grow over the course of the movie, with de Havilland masterful at each stage, is wonderful. More importantly, she acts the part, with what feels like authentically painful shyness. Here, with her hair matted down into a helmet and her eyelashes thickened, she almost resembles Alfalfa from the old Little Rascals show in some of her scenes. I loved how Olivia de Havilland was made up to fit the part, unlike some of the other films I've seen where she's the 'plain one' but looks extraordinary (she is Oliva de Havilland, after all). Her aunt (Miriam Hopkins, who was so nice to see) tries to mediate between everyone involved. The father fears he is in it for the money, but the young man is steadfastly earnest in his protestations of true affection. Enter Montgomery Clift, a young man without money or an occupation, who sees the good in her, and begins courting her. Her wealthy father (Ralph Richardson) is a widower, and with memories of his beautiful and graceful wife in his mind, feels disappointment in his daughter. A great movie that shouldn't be missed.A plain young woman in Manhattan towards the end of the 19th century (Oliva de Havilland) suffers from painful social awkwardness. Certainly the costumes greatly enhance Olivia de Havilland's ability to play this part and be accepted as the plain and graceless Catherine Sloper. In her biography, Edith Head talks about researching and designing the clothes for this movie. Miriam Hopkins is the perfect airhead social climber who does have affection for her niece, but becomes so wrapped up in the overall romance of the situation that she doesn't act in the best interests of her niece but in the best interests of the romantic drama that is unfolding around her. With his disdain for his daughter and his idealization of her dead mother, it is easy to see how his attitude has frozen his daughter in her insecurity about everything that she does. Olivia de Havilland is almost too good looking to be the unattractive Miss Sloper, however her great acting overcomes her beauty, and the viewer readily accepts her in the part. His physical beauty makes it easy to understand how someone as gauche as Catherine Sloper could overcome her shyness and respond to him. Montgomery Clift is so wonderful as Morris Townsend. There is nothing about it that I would change. The Heiress has to be one of the greatest movies ever made.
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