The Visual Magic of William Wyler

         The Heiress, directed by William Wyler in 1949 and based on Henry James's 1880 Washington Square, shows many signature techniques of this very talented man. As I was watching it, I was not actually sure who the director was but had a feeling, which turned out to be true that Wyler was responsible for the production. The beauty of film is that one can use silence in a way that cannot be used in writing, so that the audience can learn so much just by watching the film. Wyler uses this technique quite well, and I find that this is one of his many signature qualities in his work. Throughout the film I noticed certain touches of detail that Wyler had added to the validity of the production.

         Catherine was exactly how I had pictured her and every movement she made gave the audience a look into her very plain existence. Olivia de Havilland, the actress playing Catherine's role, seemed to really understand just how controlled she was. Her looks, as well as her actions, were in line with how I pictured the character for and the same could be said for all the characters, especially Morris. Morris' role, played by Montgomery Clift was also done very well. For example, his looks and physical charm was evident in the first scene we saw him in. This scene, being the party where he asked Catherine to dance. He had a beautiful smile that seemed to captivate the audience as well as our dear Catherine.

         I especially found the scenes with both Dr. Sloper (Ralph Richardson) and Morris to be quite enjoyable just to watch. The beauty of film is that one can use silence in a way that cannot be used in writing. Wyler uses this technique quite well, and I find that this is one of his many signature qualities in his work. We saw an example of this anytime there was an interaction between Morris and Dr. Sloper. The actors' silent mannerisms and movements all helped to promote this image of awkwardness and tension between the two men. Many times we witnessed looks being shot across the scene and could read the situation well without even hearing any dialogue. An example of this is witnessed as we watch Morris arrive to call on Catherine after their first meeting, and Sloper seems to size up this man he is facing losing his daughter to.

         Regardless of whether one enjoys this film or not, it is important to at least admit that William Wyler does a wonderful job of showing, especially by visual images, the complexities of the characters, and the issues and emotions that they go through in the original writing of the story. Wyler uses his talent to show the irony of Dr. Sloper hating a man, whom he wishes his daughter to be so much like in character. We see just how torn Catherine is between the thought of true love and the need for acceptance from a parent. William Wyler captures the essence of each character and uses visual film techniques to give the audience a more in depth look at the story of Washington Square; and, while many parts are different from the original story, the meanings all hold true throughout the film, and once again we see just how talented director William Wyler really is.

Kristin Meschler

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