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The Heiress by Ruth and Augustus Goetz Based on the novel Washington Square by Henry James. Compared to her mother, the heiress Catherine Sloper seems dull and lifeless, or at least that's what her father believes. With her lack of confidence Catherine becomes easy prey for fortune hunter Morris Townsend who deserts her on finding out she h. Suggested by Henry James' novel Washington Square, this play, produced twice on Broadway, has proved an enormous success. 'THE HEIRESS has a wealth of treasures to bestow; it would be foolish to abstain from one's share in them.' The heiress: a play - Ruth Goetz, Augustus Goetz, Henry James. City Heiress, The: Behn, Aphra: Electronic Text Center - University of Virginia. Script Fly Can't find that script on the 'net? CLYBOURNE PARK SCRIPT PDF PDF - Are you looking for CLYBOURNE PARK. Cecilia or memoirs of an heiress By the author of Evelina In five volumes.

- Good morning.

- Good morning.

- Here's the dress for Miss Sloper.

- Thank you.

Miss Cathy, it's your new dress!

Will you take it out of the box,

Maria, and hang it up?

Yes, Miss.

Well, that's all, I think.

- I'll be at the Harrisons'.

- Yes, Doctor.

I may not get to the clinic today

at all.

- Good morning, Lavinia.

- Good morning, Austin.

- Catherine's starting another?

- She embroiders beautifully.

I hope she doesn't let it become

a life's work.

Austin, yesterday

I had the most exciting experience!

- Oh?

- I met two people from Poughkeepsie.

Birth certificate. They had been

members of my husband's congregation.

When I told them I was stopping

with my brother,

Dr. Sloper, 16 Washington Square,

they were so impressed.

It's just made my visit!

Lavinia, would you care

to spend the winter here?

The winter? Oh, gladly!

Good. I thought if you stayed on,

you might help Catherine.

Help her? But help her how, Austin?

For instance,

Elizabeth's party this evening,

you couldpersuade Catherine

to join in with the young people.

Enjoy herself.

- But of course she'll do that.

- I hope so.

Ah.

Six pounds. That'll be 30 cents.

- Could you please cut off the head?

- Yes, Miss. Kitty, kitty, kitty.

- There you are.

- Thank you.

Yes, ma'am. Fresh fish!

- Morning, Father.

- Morning, Catherine.

I bought a fine fish

for the chowder you like.

That's very thoughtful.

Next time,

let the man carry it in for you.

- Oh. Yes, Father.

- Coming!

It's a lovely morning. Why don't you

invite your Aunt Lavinia or a friend

to take luncheon with you,

perhaps go to a park concert?

I can't. I have some embroidery

I'd like to attend to.

Ah, yes.

Well, I'll see you this evening.

Yes, Father. Goodbye.

- Catherine?

- Come in, Aunt Penniman.

Ooh, you must hurry, dear.

You were a long time

at that hospital committee.

- Too long.

- Didn't you like it?

Some ladies on the committee

are so foolish, they're useless.

They think it ill-bred to know

anything about food or the kitchen.

Such airs and graces.

When I was young,

we took pride in our housewifery.

My, the meals I used to set before

the Reverend Penniman, rest his soul!

- Then, you have deceived me, Aunt.

- How so?

You led me to believe

that you and he lived on love alone.

A witticism like that would be

of interest to people this evening.

It's a very good way to get started.

What I mean is, don't go off

by yourself tonight, will you?

Stay with all of us

and enjoy the party.

You have been talking to Father.

Well, yes, dear. In a way I have.

- Your father...

- Fatherwould like me to be composed

- and to join in the conversation.

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- Yes.

- I can't, Aunt Lavinia.

- Perhaps you don't try sufficiently.

Oh, I do! I do!

I would do anything to please him.

There's nothing

that means more to me.

I have sat here in my room

and made notes of the things I should

say and how I should say them.

But when I am in company, it seems

that no one wants to listen to me.

Now, Catherine.

If you will stay by me this evening,

you will see that what I say is not

always of the greatest importance

but, dear,

that doesn't keep me from talking.

Yes, Aunt.

Now, I'll finish dressing

and meet you downstairs.

Father!

Come in, Catherine.

Good evening, Father.

Do I disturb you?

You are not a disturbing woman,

my dear.

Do you like my dress?

Is it possible this

magnificent person is my daughter?

But you are sumptuous, opulent.

You look as if

you have 80,000 a year.

- I thought you'd like the color.

- Yes.

- It's cherry red.

- So it is.

The Heiress is a 1949 American drama film produced and directed by William Wyler and starring Olivia de Havilland as Catherine Sloper, Montgomery Clift as Morris Townsend, and Ralph Richardson as Dr. Sloper. Written by Ruth and Augustus Goetz, adapted from their 1947 play The Heiress. The play was suggested by the 1880 novel Washington Square by Henry James. The film is about a young naive woman who falls in love with a handsome young man, despite the objections of her emotionally abusive father who suspects the man of being a fortune hunter.^[2][3]

In 1996, The Heiress was selected for preservation in the United States National Film Registry by the Library of Congress as being 'culturally, historically, or aesthetically significant'.^[4][5]

Plot[edit]

In 1850s New York City, Catherine Sloper (Olivia de Havilland) is a plain, painfully shy woman whose exacting and emotionally detached father, physician Austin Sloper (Ralph Richardson), makes no secret of his disappointment in her. He is terribly bitter about losing his charming and beautiful wife, whom he feels fate replaced with a simple and unalluring daughter. However, Catherine is devoted to her father and too innocent to fully comprehend his mistreatment or its reasons. Catherine enjoys quiet pursuits, such as caring for her father and embroidery, and seldom ventures out socially.

Catherine's gregarious Aunt Lavinia Penniman (Miriam Hopkins) moves into the household after becoming widowed and attempts to prod Catherine into being more social and find a husband. When she meets the handsome Morris Townsend (Montgomery Clift) at a ball, Catherine is taken by the attention he lavishes upon her, attention she's never received before and desperately wanted, and flourishes under his affections. Catherine falls madly in love with Morris, and they plan to marry.

Catherine is of age, receiving $10,000 a year from her mother's estate, and is expected to receive an additional $20,000 per year on top of this after her father's passing. Dr. Sloper believes Morris, being far more attractive and charming than Catherine, but poor and with few prospects after he wasted his own inheritance, is an idler courting Catherine only to get her sizable income. Aunt Lavinia favors the match regardless, being both romantic and pragmatic enough to view this as Catherine's chance at a happy married life since Morris seems somewhat genuinely fond of Catherine's honesty and kindness, despite his largely monetary motivations.

A frank discussion with Morris's sister confirms Dr. Sloper's opinion of Morris as a gold digger. The doctor tells the young couple he believes Morris is attempting to dupe plain and gullible Catherine. The doctor takes his daughter to Europe for an extended time to separate them. Still, she cannot forget her betrothed, especially since he frequents the house to visit Aunt Lavinia in their absence, who enables the two to keep in contact. When they return to New York, Dr. Sloper threatens to disinherit his daughter if she marries Morris, and they have a bitter argument in which the doctor makes his disdain and distaste for her abundantly clear. She realizes how poorly he views her.

Catherine and Morris make plans to elope with the help of Aunt Lavinia. Still, Catherine tells Morris about her desire to disinherit herself from her father and never see him again, likely guaranteeing that she will not inherit $20,000 a year from him. Catherine is impatient to cut off all contact with her father and desperate to prove him and Aunt Lavinia incorrect: someone does love her, and not her money, and she has not been stupid to think so.

According to their plan, Catherine eagerly packs her bags and waits for Morris to come and take her away to happiness. She waits all night. He never comes. She drags her luggage back upstairs and puts her belongings away.

Catherine is heartbroken and grows colder, now painfully aware of her father's opinions of her, but trapped caring for him nonetheless. Soon afterward, Dr. Sloper reveals he is dying. To cause him distress, she vengefully tells her father she still loves Morris and dares him to change his will if he is afraid they will waste his money after he dies. He does not alter the will and dies, fretful, leaving her his entire estate. Catherine refuses to see him on his death bed.

Years later, Morris returns from California, poorer, having made nothing of himself, and fewer prospects for his efforts. Aunt Lavinia arranges for Morris to visit Catherine. He finds Catherine wealthy and unmarried and is more attracted to her (and possibly her fortune) than before. He claims that he left her behind because he could not bear to see her destitute and is quick to re-proclaim his love for her and his desire for her affections. Aunt Lavinia is thrilled for her niece, thinking this is Catherine's great chance. Catherine ignites Morris's hopes when she requests that Morris recreate their previous plan to elope. She gives Morris a gift of ruby buttons that she had bought for him in Paris. Morris eagerly promises to come back for her that night, and she tells him she will start packing her bags.

After Morris leaves, Catherine informs her aunt that she does not believe his renewed protestations of love and that she has no intention of offering her love to him. Her aunt asks her if she can be so cruel, and Catherine coldly responds, 'Yes, I can be very cruel. I have been taught by masters.' When Morris arrives later that night with the promised carriage and rings the bell, Catherine calmly orders the maid to bolt the door, leaving Morris locked outside, shouting her name and repeatedly banging on the locked door. The film fades out with Catherine silently ascending the stairs while Morris' despairing cries echo unanswered in the darkness.

Cast[edit]

• Olivia de Havilland as Catherine Sloper
• Montgomery Clift as Morris Townsend
• Ralph Richardson as Dr. Austin Sloper
• Miriam Hopkins as Lavinia Penniman
• Vanessa Brown as Maria (pronounced Mariah)
• Betty Linley as Mrs. Montgomery
• Ray Collins as Jefferson Almond
• Mona Freeman as Marian Almond
• Selena Royle as Elizabeth Almond
• Paul Lees as Arthur Townsend
• Harry Antrim as Mr. Abeel
• Russ Conway as Quintus
• David Thursby as Geier

Production[edit]

After seeing The Heiress on Broadway, Olivia de Havilland approached William Wyler about directing her in a screen adaptation of the play. He agreed and encouraged Paramount Pictures executives to purchase the rights from the playwrights (Ruth and Augustus Goetz) for $250,000 and offer them $10,000 per week to write the screenplay. The couple were asked to make Morris less of a villain than he was in their play and the original novel in deference to the studio's desire to capitalize on Montgomery Clift's reputation as a romantic leading man.^[6]

The film premiered at Radio City Music Hall in New York City.

Ralph Richardson would later reprise the role of Austin Sloper in a London production of the play.

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Reception[edit]

The Heiress received universal critical acclaim and won four Academy Awards.

Bosley Crowther, in his review for The New York Times, wrote that the film 'crackles with allusive life and fire in its tender and agonized telling of an extraordinarily characterful tale' and added, 'Mr. Wyler ... has given this somewhat austere drama an absorbing intimacy and a warming illusion of nearness that it did not have on the stage. He has brought the full-bodied people very closely and vividly to view, while maintaining the clarity and sharpness of their personalities, their emotions and their styles ... The Heiress is one of the handsome, intense and adult dramas of the year.'^[7]

The Brooklyn Eagle found the film 'an intensely satisfying drama that holds a high level of interest throughout, building relentlessly to a moving climax.' Praise for the principals lauded de Havilland especially: 'the transformation of Catherine Sloper from a pathetically shy girl to a cold, handsome woman' being 'handled with finished skill.'^[8]

The Philadelphia Inquirer praised the Goetzes for a skillful transformation of their stage version, finding it 'in almost every way...superior.' Prospects of an Academy Award for de Havilland were judged 'thoroughly reasonable' as well.^[9]

TV Guide rates the film five out of a possible five stars and adds, 'This powerful and compelling drama ... owes its triumph to the deft hand of director William Wyler and a remarkable lead performance by Olivia de Havilland.^[10]

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Time Out London calls the film 'typically plush, painstaking and cold.... highly professional and heartless.'^[11]

Channel 4 says of the performances, 'de Havilland's portrayal ... is spine-chilling ... Clift brings a subtle ambiguity to one of his least interesting roles, and Richardson is also excellent.'^[12]

In popular culture[edit]

In 1975, the twenty-first episode of the eighth season of The Carol Burnett Show featured a take-off of the film called 'The Lady Heir', with Carol Burnett as Catherine and Roddy McDowell as Morris.^[13]

In 1992, the film has made its Philippine adaptation titled Ikaw Pa Lang ang Minahal. The adaptation was written by Raquel Villavicencio, produced by Armida Siguion-Reyna, and directed by Carlos Siguion-Reyna. The film stars Maricel Soriano and Richard Gomez as Adela and David.

Awards and nominations[edit]

Awards^[14]

• Academy Award for Best Actress (Olivia de Havilland)
• Academy Award for Best Art Direction/Set Decoration, Black and White (John Meehan, Harry Horner, and Emile Kuri)
• Academy Award for Best Costume Design, Black and White (Edith Head and Gile Steele)
• Academy Award for Best Original Score (Aaron Copland)
• Golden Globe Award for Best Actress - Motion Picture (Olivia de Havilland)
• National Board of Review Award for Best Actor (Ralph Richardson)
• New York Film Critics Circle Award for Best Actress (Olivia de Havilland)

Nominations

• Academy Award for Best Supporting Actor (Ralph Richardson)
• Academy Award for Best Cinematography, Black and White (Leo Tover)
• Golden Globe Award for Best Supporting Actress - Motion Picture (Miriam Hopkins)
• Writers Guild of America Award for Best Written American Drama

See also[edit]

References[edit]

1. ^The Top Box Office Hits of 1950, Variety, January 3, 1951.
2. ^Variety Film Reviews, September 7, 1949, p. 11.
3. ^Harrison's Reports and Film Reviews
4. ^Stern, Christopher; Stern, Christopher (1996-12-03). 'National Film Registry taps 25 more pix'. Variety. Retrieved 2020-10-13.
5. ^'Complete National Film Registry Listing | Film Registry | National Film Preservation Board | Programs at the Library of Congress | Library of Congress'. Library of Congress, Washington, D.C. 20540 USA. Retrieved 2020-10-13.
6. ^The Heiress at Turner Classic Movies
7. ^Crowther, Bosley (October 7, 1949). ''The Heiress,' With Olivia de Havilland in Leading Role, Arrives at Music Hall'. The New York Times. Retrieved August 7, 2020.
8. ^Sheaffer, Lew. 'De Havilland Excellent as 'Heiress'.' Brooklyn Daily Eagle, 7 October 1949.
9. ^Martin, Mildred. ' 'The Heiress' at Stanley is Movie Melodrama.' Philadelphia Inquirer, 24 December 1949.
10. ^TV Guide review
11. ^Time Out London reviewArchived 2009-03-16 at the Wayback Machine
12. ^Channel 4 review
13. ^IMDB. 'The Carol Burnett Show (1967–1978) Episode #8.21'. Retrieved August 3, 2017.
14. ^'NY Times: The Heiress'. NY Times. Retrieved 2008-12-20.

External links[edit]

• The Heiress on IMDb
• The Heiress at the TCM Movie Database
• The Heiress at Rotten Tomatoes
• The Heiress at AllMovie
• The Heiress at the American Film Institute Catalog
• The Heiress: A Cruel Inheritance an essay by Pamela Hutchinson at the Criterion Collection
• The Heiress essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 ISBN0826429777, pages 426-427 [1]