A House Divided

Although you might hear a lot of folks talk about the likes of Ingmar Bergman, Martin Scorsese, Akira Kurosawa or Alfred Hitchcock being the best directors of all time, to me this title could easily be claimed by the far less famous William Wyler. While his name is not so familiar today, you'd have a hard time finding any director who could come close to approaching the number of huge hits he helmed. Think about it...this guy made "Ben Hur", "The Best Years of Our Lives", "The Big Country", "Dodsworth", "Jezebel", "The Letter", "Little Foxes", "Mrs. Miniver", "The Heiress" and many other great films. He also received the Best Director Oscar three times! Talk about a great track record. However, in 1931, Wyler was still a relative unknown--working here for a second-rate studio (Universal) and with a B-movie script. And, his directing the film was THE reason I chose to see "A House Divided".

When the film begins, the seaman, Seth Law (Walter Huston), has just buried his wife. Instead of mourning, this cold-hearted beast goes to the nearby bar to celebrate...a berates his less rugged son Matt (Douglass Montgomery) for being a sissy because he's sad about this death! Then, showing the depth of his awfulness, Seth then almost immediately buys a mail-order wife. After all, he needs someone to clean, cook and take care of him. Matt is appalled. However, when the new bride to be arrives, she's not the lady he ordered. Instead, Ruth (Helen Chandler) is very young, small and pretty. She agrees to marry Seth anyway but soon he regrets it because Seth is a nasty pig who seems an awful lot like Bluto from the Popeye cartoons! In addition, she soon finds herself attracted not to Seth but Matt!

So why does the film only merit a 5? Well, the pacing is a serious problem. Since it's essentially a B-movie, the director was forced to have the film run at only about 60 minutes--and this meant cutting corners. So, Ruth changes her mind way, way too fast about Seth as well as Matt and it all just seemed rushed and, as a result, difficult to believe. Not a bad film but it misses the mark too often to be of any interest except to nuts like me who love Wyler's work...even his lesser stuff.

Creaky but interesting melodrama powered by Walter Huston's performance as a brute and a dynamite action ending. Although Wyler's direction is not as sure as it would be later, it is interesting to note that, for the most accomplished studio director of all time, a man said to operate without a style of his own, a lot of images that show up in his later films (particularly WUTHERING HEIGHTS and THE LITTLE FOXES) also show up here.

I've never seen Walter Huston in anything in which he's not brilliant and this doesn't disappoint either. This dark and moody drama isn't particularly fun but it's a satisfying watch.

This is another great example showing what a great actor Walter Huston was. His character evokes the sense of a volcano just about to erupt but restrained by an impermeable layer of pure cold granite. He's a right nasty piece of work in this, a horrible thug without any likeable qualities whatsoever. But Huston being a proper actor still manages to captivate your imagination. He makes you want to know if he's really that unpleasant, whether under that rough stony exterior is a heart of gold but he only shows you that he's not hiding his feelings, he just doesn't have any. Even getting married by Emperor Ming doesn't cheer him up! Like his performance in KONGO, he's a cold hearted monster but he's also a believable damaged human being.

This isn't a typical 1930s picture. The only thing which dates it to that period is its early talkies style. It's set in the early 30s but it's not the 1930s we are familiar with. We are in a remote fishing village where gangsters and gold diggers are as alien to them as they are to us now. Places and macho societies like this were probably unchanged since the time of Moby Dick. The concept of a mail order bride, for woman to enter a life of serfdom in exchange for somewhere to live seems dumbfounding to us in our comfortable modern world but these were very desperate times. It's fascinating to get a glimpse into how we lived.

This is only William Wyler's third ever talkie so it's not going to be his best work but this is from the man who seven years later would make the best film ever, WUTHERING HEIGHTS so it's still superbly made. Although made by Universal, who weren't known for splashing the cash on their pictures, the production standards, for 1932 anyway are pretty good. The finale in the storm is quite impressive.

It's not particularly uplifting nor does it make you feel happier after you've watched it. It's a very serious dark drama so you need to be in the right mood for this. It is however a great story, a jaw-dropping insight into another world and if you want to see some great acting, you can't go wrong with this.

'A House Divided' is an excellent film from early in the career of underrated director William Wyler. It features a first-rate performance by Walter Huston. (His son John Huston gets a dialogue credit.)

In 1926, Walter Huston starred on Broadway in 'Konga', a melodrama that became Lon Chaney's silent film 'West of Zanzibar', which in turn was remade as a talkie under its original title, with Huston playing Chaney's role. Walter Huston and Lon Chaney were very similar actors: they both started in vaudeville as song-and-dance men but achieved success in dramatic roles. They were similar types and often played similar roles. Coincidentally, both had sons who achieved success as character actors. Although Chaney is best-known for playing deformed or crippled men, he more typically played a coarse villain who sacrificed himself for a younger woman who spurns him in favour of a younger and more callow man.

'A House Divided' stars Walter Huston in a role that seems tailor-made for Lon Chaney. Huston plays Seth Law, a widower in a Pacific fishing village. Law's son Matt (played by Kent Douglass, who later became better known as Douglass Montgomery) is a sensitive type who longs to give up the hard life of a fisherman in favour of an easy job as a farmer(!). Seth despises his son, whom he considers a weakling. Seth sends away for a mail-order bride, intentionally choosing a plain-looking woman who's built for hard work. What he gets instead is the delicate and pretty Ruth Evans (played by Helen Chandler, in a much better performance than she gave in 'Dracula'). Seth gallantly offers to pay Ruth's way back to where she came from, but Ruth is determined to make a life for herself here. To give Ruth his protection, Seth marries her ... but it's clearly a marriage in name only. Charles Middleton plays the minister who presides at the marriage, but Middleton's fans will be disappointed at how little he gets to do here.

Inevitably, Seth gradually becomes attracted to pretty Ruth and decides to consummate the marriage ... but just as inevitably, a romance evolves between Ruth and sensitive young Matt. I was watching this movie with no idea of where its plot would go, and I found myself thinking this was really a Lon Chaney vehicle ... and then suddenly the movie leaps directly into the heart of Lon Chaney territory. One dark night, Seth and Matt have a fight in Seth's house. Matt knocks Seth through the upstairs railing, and the fall breaks Seth's spine. (Just as Chaney's character was crippled in 'West of Zanzibar'.) Seth is now a paraplegic. From this point to the end of the film, Walter Huston literally drags himself across the scenery, as Chaney did in 'West of Zanzibar'.

I shan't tell you the ending, but it's a two-fisted climax with lots of melodrama, very much in the Chaney tradition. The art direction for this movie is excellent: it was filmed in a real fishing village, and the set dressing reeks of authenticity. There's one very good line when a boat returns to harbour, and a fisherman onshore can tell from a distance that the boat hasn't caught any fish because it isn't shipping water: this is exactly the sort of thing that a real fisherman would notice.

Gibson Gowland (a major actor in silent films) gives a good performance as the bartender, and there's one very funny gag involving a (genuine) one-legged man in a barroom brawl. In the early scenes of this film (before he gets crippled), Seth sings and dances. Walter Huston was an expert singer and dancer, but here he wisely (and bravely) restrains his own abilities, so that Seth Law sings and dances in the clumsy and untrained manner which is exactly appropriate for a coarse fisherman. I'm always annoyed by scenes in non-musical dramas in which an actor or actress playing a 'normal' person suddenly bursts into song or dance and uses the opportunity to show off a trained singing voice and years of dance lessons. Walter Huston was too good an actor to indulge in such ego trips.

I'll rate 'A House Divided' 8 points out of 10. Huston is excellent, but I wish I could have seen (and heard!) Lon Chaney playing this role.

The film opens with the funeral of Walter Huston's wife who was also Douglass Montgomery's mother. Huston's incredibly strong performance as the fisherman father with little sympathy for anybody or anything but fishing, staying alive, and drinking at the local bar is riveting. He orders a mail-order bride through a magazine - to do the housework, cook, mend the nets - you get the drift. She arrives, but she's another who's taken the place of the original girl who had already married. She's also much prettier. Only 19 and one of six daughters to a Montana wheat farmer, the girl marries Huston. She falls in love with his son, Montgomery, a man his father thinks is weak. Among bit parts, you may spot Walter Brennan, Mary Foy, Gibson Gowland, Mary Gordon, Vivien Oakland, and Marjorie Main.

The action in the film is strong, the fluidity of the camera for the year really good. The final scene is spectacular, the camera work really magnificent, as Huston straps himself into a boat to go rescue his wife, who had gone out on the fishing boat when a storm breaks out. Why was Huston strapped to the boat you might ask? Because he's now crippled, without the use of his legs, thanks to a knock-down, drag-out fight with his son where he falls down a flight of stairs. It might seem like Huston is warming up for the part of Dead Legs in Kongo the following year, but then he'd been playing that part on the stage since 1926, so maybe THAT play was the warmup for THIS movie.

There's little that redeems the character played by Huston, but the performance is superlative. Helen Chandler gives what may be her best performance. Montgomery was never better. With William Wyler's direction in one of his early sound films, this is really a knock-out. You may remember that Wyler made "Dodsworth" with Huston later. He also made "Come and Get It" in 1936, a film that resonates with the same kind of theme and a strong performance from Edward Arnold.