These Three

For a film that opened in 1936, "These Three" manages to hold the attention seventy years later.

True, Lillian Helmann's heterosexual adaptation may seem a bit over-baked now; still, there are some compelling scenes which are touching.

Working with a top-notch cast and crew, Director William Wyler managed to coax some pretty heartfelt performances from his ensemble.

The whole thing looks like it may have been an extremely difficult shoot, especially for its principals. Word has it that Miriam Hopkins was very difficult to work with, and that Merle Oberon's normally meager talent was stretched beyond its capacity by the demanding director.

Yet, through probably endless retakes, the final result from the editing room is impressive. The child actors are quite good, without which the drama's effectiveness would have been considerably lessened. All the adult performers are strong, rendering commendable work.

Judging from the viewer's and critic's evaluation on IMDb, "These Three" is still very much appreciated.

Plot- Two women college graduates turn an old house wreck into a girls school where both can teach. Trouble is an obnoxious student undercuts the school with wicked gossip. At the same time, both are stuck on the same man, a doctor.

Oh my gosh! Talk about nasty kids. Not since little Patty McCormack in the Bad Seed (1956) have I seen such a wicked little girl. Granville dominates the film as school girl Mary (note the ironic Biblical name), with a penetrating stare, a cunning manner, and a brutal core. If kids were honored with an Oscar, she deserved one. On the other hand, there's a persuasively appealing Martha Mae Jones as Mary's abused victim. In fact I was almost crying with her. Between them, they dominate the film's dramatic effect. Surprisingly, the two marquee actresses, Hopkins & Oberon, are more recessive, supplying two sides of a romantic triangle with McCrea as the male third part. The triangle, however, is dominated by the gossipy part, though the two do intersect at points. Meanwhile, in the background, producer Goldwyn has mounted an impressive production, especially that rat-in fested mansion in the first part.

Speaking of house wrecks, I like the way the movie shows the extensive labor involved in restoring it as a school where Oberon and Hopkins can teach. That way, we get a sense of tragedy when the two lose their hard-won investment. Still, I wonder how McCrea's doctor finds the time to do all the repair work he does. If the flick has a weak point, I think it's McCrea's who's an attractive leading man but much too foot-loose for a plausible doctor's role. All in all, his part appears poorly conceived. On the other hand, who better to get a commanding grip on nasty little Mary than the Wicked Witch of the West, which the great Margaret Hamilton does.

All in all, it's a compelling movie thanks mainly to the two over-arching young actresses. Together, they turn the work into a memorable look at the potential effects of errant gossip. So give it a try.

With Miriam Hopkins, Merle Oberon, and Joel McCrea in the leading roles, I wasn't expecting to find them all upstaged by a brilliant performance from 13-year-old Bonita Granville. I knew very little about the film going in, and that was a good thing, as the film went off in an interesting direction. The setup is that Hopkins and Oberon play a couple of friends who start up a school in rural Massachusetts after graduating from college, and McCrea is a doctor who falls for Oberon. Granville's character is one of the challenges they have; she's spoiled, manipulative, a bully, and overall troublemaker in the school. Another is Hopkins' aunt (Catherine Doucet), a featherbrained leech who imposes herself on them. I won't describe the plot further, except to say that there's just enough of an inkling of truth about a rumor that is whispered about - or in the seeds of a possible truth - that it gives the story nuance, and helps enable a deceitfulness which is as clever and realistic as it is maddening (and it is quite maddening). William Wyler exercises the right amount of restraint as director - letting the events and emotions come to us (if that makes any sense), avoiding mundane tedium such as the details of a courtroom scene, and letting a deep cast deliver fine performances, another of which is from 12-year-old Marcia Mae Jones. It really makes me want to seek out 'The Children's Hour' (1961).

"These Three" is an absorbing film that somehow manages to retain its integrity despite being different from the play, "The Children's Hour," on which it is based. Having seen the later film, "The Children's Hour," about two teachers accused of lesbianism, I wondered how the 1936 film would measure up. The answer: Brilliantly.

Part of the reason for this is, as Lilliam Hellman, the playwright herself stated - the play isn't really about lesbianism, it's about a children's lie. And the vicious, destructive lie of a child is still central here, though now it concerns the supposed affair of Miriam Hopkins and Joel McCrea, who is engaged to marry Merle Oberon, Hopkins' partner in a girls school. Another reason for the film's success is the flawless direction by William Wyler, and last but not least, a sympathetic trio. Hopkins is a standout with her strong, passionate performance.

Bonita Granville, the bad seed, is such an evil, blackmailing brat, that I'm sure when 1936 audiences saw Margaret Hamilton slap her, they broke into applause. I nearly did, and I was watching it alone! It's an unrelenting performance, though she's such a walking horror show, it's remarkable anyone believed her in her "earnest" moments, which were calculated, as only a monster's can be! Highly recommended.

This version of Lillian Hellman's play "The Children's Hour" is by far more satisfying than the Audrey Hepburn-Shirley MacLaine remake in the 1960s which retained the lesbianism theme while revolving around a child's lie.

Instead, this earlier William Wyler version changes the slanderous lie to a heterosexual one--and none of the power is lost in the telling of a tale about a manipulative young girl's lie that destroys the lives of three innocent people.

The acting is all on an extraordinarily high level here--everyone, from Merle Oberon to Miriam Hopkins to Joel McCrea and especially little Bonita Granville (as a liar who even stoops to blackmail to keep her lie afloat). As the terrorized girl, Marcia Mae Jones is every bit as adept as the others in making the entire story a convincing one.

The power of a lie to destroy others has never been more effectively played out than it is here. Under William Wyler's direction, the screenplay has been expanded with enough outdoor scenes to keep the film from seeming like a filmed stage play.

Joel McCrea has never been more effective in a sympathetic role. He and Merle Oberon are impressive and wholly believable as the young lovers. Miriam Hopkins has a difficult role and she handles it brilliantly. Bonita Granville fully deserved her Oscar nomination as the monstrous girl, sparing nothing to make her one of the most hateful brats in screen history.

Well worth watching for some brilliant performances and a compelling story.