Humphrey Bogart stands on the
train platform in the rain, reading the letter Ingrid Bergman has written to
him. The next few frames of the movie
are focused on the letter, its handwriting melting to a blur as the ink bleeds
down the page from the rain.
Some classic films, such as The Letter (1940) and Love Letters (1945) discussed here, and The Shop Around the Corner (1940) discussed here, have plots that are predicated on a letter. A letter is the catalyst for conflict in the
story. There are a lot of movie plots we
could add to this category, like A Letter
to Three Wives (1949). A letter is
the incriminating evidence, or provokes a mystery, or a love letter may bring
the wrong lovers together, or incite jealousy.
But the use of letters, moreover,
showing the handwriting on the letter
is such a typical device used in old movies that we might regard it a cliché,
though I don’t think I’ve ever seen it parodied. It certainly could be, but perhaps the image
of handwritten letters is so natural to this era that we accept it without
thinking. In this previous post, readers responded with what were their favorite images commonly seen in old movies: the
passage of time with flipping calendar pages, or the candle stick desk phones,
men’s broad-brimmed hats, etc. We can also
see all of these in modern movies set in the 1930s or 1940s, and we can see
them in parody skits, but I don’t think the use of a handwritten letter has
been used in decades since the era when handwritten letter were the major form
of communication, in business and in personal use.
I especially love moments in old
movies where a letter has nothing to do with the plot, but it’s there as a
convenience. Consider White Christmas (1954), where Anne
Whitfield passes a letter written by Rosemary Clooney to her sister, Vera-Ellen. The letter informs Vera-Ellen
that Rosemary, not wanting to stand in the way of what she thinks is her
sister’s impending marriage, breaks up their stage act and has taken a job in
New York. Vera-Ellen merely glances at
the letter to know all the contents, and passes it to Danny Kaye, who,
likewise, merely glances at the letter to know all its contents. They may be speed readers, but the director
gives us a few frames of the actual letter to read because we don’t read as
fast.
We are included in the letter
reading. It is as if Vera-Ellen has
passed the letter around to us too. The
audience shares the news “real-time.” We
are reading over her shoulder.
Who really wrote the letters in
the movies? Was it a staff of talented
handwriting stand-ins? A studio
secretary with a high school prize for penmanship? I’d love to know. A reader commented once that the handwriting
in two different letters in two different movies looked the same.
I suppose the most famous letter
in literature is the very long and detailed letter Mr. Darcy wrote to Elizabeth
Bennett in Pride and Prejudice,
explaining the back story of his relationship with Mr. Wickham and the
treachery done to his sister, and why Darcy interfered with Mr. Bingley’s
relationship with Elizabeth’s sister Jane.
It’s a bomb dropped in the middle of the story, and turns the whole plot
on its head.
He may be a closemouthed fellow
when it comes to talking, but in a letter, Darcy goes on forever, yadda, yadda,
yadda. We would not likely see such a
long letter printed verbatim in a modern novel. Even modern film adaptations of
Darcy’s famous letter tend to abbreviate his epistle, or illustrate its points
instead in dramatic flashback scenes.
The directors must think modern audiences will not sit still for a
little juicy letter reading.
In many schools today, cursive
handwriting is no longer taught. Many of
us have youngsters in our families who cannot write or read cursive
handwriting. This is unfortunate on many
levels, most especially that they will not be able to read historic documents,
including the personal letters preserved in their own families.
But it also means they will not
be able to read Rosemary Clooney’s letter to Vera Ellen, or Ingrid Berman’s
letter to Bogie, or any of the notes and handwritten clues as to why the actors
are behaving the way they do—remember, their actions are not always
explained. Reading the letter saves us
from having to say what has happened off screen.
“Why is Bogie sad, Mommy?” Now, doesn't that just tear your heart out?
The letter writing and letter
reading scenes are passive, yet still powerfully dramatic. The letters convey intimate news. Sometimes they are kissed or embraced
because they represent the person that wrote them. Sometimes they are stashed quickly in a
hiding place. Sometimes they are burned,
or crumpled and thrown away.
This is what Bogie does when the
goodbye letter that kicks his guts out has become illegible from the rain,
substituting for tears, as Ingrid’s words bleed down the page. He stands on the steps of the now moving
train, crushes the soggy paper in his fist, and tosses it to the tracks.
Deleting an email, or "un-friending" someone was never so dramatic, or so satisfying.
What are some other favorite
“letter scenes” of yours?
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"Lynch’s book is organized and well-written – and has plenty of amusing observations – but when it comes to describing Blyth’s movies, Lynch’s writing sparkles." - Ruth Kerr, Silver Screenings
"Jacqueline T. Lynch creates a poignant and thoroughly-researched mosaic of memories of a fine, upstanding human being who also happens to be a legendary entertainer." - Deborah Thomas, Java's Journey
"One of the great strengths of Ann Blyth: Actress. Singer. Star. is that Lynch not only gives an excellent overview of Blyth's career -- she offers detailed analyses of each of Blyth's roles -- but she puts them in the context of the larger issues of the day."- Amanda Garrett, Old Hollywood Films
"Jacqueline's book will hopefully cause many more people to take a look at this multitalented woman whose career encompassed just about every possible aspect of 20th Century entertainment." - Laura Grieve, Laura's Miscellaneous Musings
"Jacqueline T. Lynch’s Ann Blyth: Actress. Singer. Star. is an extremely well researched undertaking that is a must for all Blyth fans." - Annette Bochenek, Hometowns to Hollywood
Ann Blyth: Actress. Singer. Star.
by Jacqueline T. Lynch
The first book on the career of actress Ann Blyth. Multitalented and remarkably versatile, Blyth began on radio as a child, appeared on Broadway at the age of twelve in Lillian Hellman's Watch on the Rhine, and enjoyed a long and diverse career in films, theatre, television, and concerts. A sensitive dramatic actress, the youngest at the time to be nominated for her role in Mildred Pierce (1945), she also displayed a gift for comedy, and was especially endeared to fans for her expressive and exquisite lyric soprano, which was showcased in many film and stage musicals. Still a popular guest at film festivals, lovely Ms. Blyth remains a treasure of the Hollywood's golden age.
The eBook and paperback are available from Amazon and CreateSpace, which is the printer. You can also order it from my Etsy shop. It is also available at the Broadside Bookshop, 247 Main Street, Northampton, Massachusetts.
If you wish a signed copy, then email me at JacquelineTLynch@gmail.com and I'll get back to you with the details.
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