‘Picnic’ 1955

William Holden & Kim Novak as the drifter & the beauty queen in 1955's "Picnic."

 

Picnic portrays the lives of quiet—or raucous, in the case of Roz Russell—desperation. Set in a small Kansas town during the 1950s, the story revolves around the effect that a charismatic young drifter has on the repressed townspeople one sizzling Labor Day.

Picnic is the Pulitzer Prize winning play by William Inge, at the height of his acclaim. The domestic drama was a huge Broadway hit that was brought to the screen by its stage director, Joshua Logan. Noteworthy about the stage version were some up-and-coming actors: Ralph Meeker as drifter Hal Carter; Paul Newman in his Broadway debut as rich kid Alan; Janice Rule as beauty queen Madge; and Kim Stanley at age 28, as kid sister Millie! Eileen Heckart portrayed Rosemary, the spinster teacher who spins out of control on Labor Day evening.

William Holden's "boyishness" act as Hal is as awkward as Kim Novak's acting. 

I’m sure Columbia Studios paid William Inge a pretty penny to bring his play to the big screen. Columbia head honcho Harry Cohn was giving Kim Novak a huge build up and decided this property would be perfect to launch her as a leading lady. Therefore, a “name” leading man was needed. Instead of going off the studio lot for a suitable male star to play the sexy young college dropout/drifter—say Brando?—Cohn chose studio homeboy William Holden to play Hal. And Harry didn’t have to pay a pretty penny for Bill, because it was the last film on Holden’s old studio contract. It’s a shame Marlon Brando did Guys and Dolls instead of Picnic. Brando was six years younger than Holden, far more boyishly charismatic.

William Holden was a fine actor, but too careworn & not carefree as Hal in "Picnic.

While Holden was an especially subtle male actor for the era, he was a decade too old for the part. What made this especially noticeable was that while Bill’s bod was still in fine form, Holden’s face was already showing signs of alcoholic dissipation at just 37. When Holden acts like an over-aged teenager, it’s especially awkward as he tries to impress Madge, played by 22-year-old Novak.

William Holden's form was fine, but his close-ups showed hard living in "Picnic."

Still, Bill had charisma, authority, and “rugged” sex appeal, so Holden as the young stud wasn’t a total dud. Hal Carter reminds me of Tennessee William’s later character, Chance Wayne, in Sweet Bird of Youth. They’re golden boys who come to a small town and stir things up, and both want to make off with the lovely ingénue. Both are Peter Pans, star athletes with aspirations of movie stardom, but neither have never amounted to anything. Ironically, Paul Newman was the same age as Holden in Picnic when he played Chance in ’62. While Newman liked his beers, it didn’t show, like the effects of whatever Holden hoisted.

Rosalind Russell lets rip on William Holden's shirt, as passions get heated in "Picnic."

An amused eye roll comes when Columbia cut the line from Picnic’s climactic dance scene: “I feel just like Rita Hayworth!” I guess they were more concerned with shining a spotlight on Columbia’s new love goddess, Kim Novak!

Cliff Robertson as the rich beau that Kim Novak's Madge "should" want, in "Picnic."

Kim as Madge is a contradiction, as often is the case with Novak’s acting. Kim’s shyness and uncertainty works for the character, and she was often cast thusly. I’m sure playing a girl who is valued mainly for her looks hit home for insecure Kim, who was treated like an object by Harry Cohn. Yet, Novak’s studio-trained mannerisms and dazed demeanor reminds me of another actress who often felt uncomfortable in front of the camera, Jennifer Jones, thrust into the spotlight by her Svengali, David O. Selznick. Kim’s Madge is an uneven performance, yet her vulnerability goes a long way, and she and Holden have a strong chemistry. Kudos to whoever decided that Novak temporarily drop her “lavender blonde” look. With her simple makeup and a long reddish brown wig, Kim looks pretty yet realistic as the local beauty queen.

Columbia Studios' blonde bombshell Kim Novak was toned down
for the small town drama "Picnic."

Rosalind Russell as Rosemary, the middle-aged teacher who boards at the Owens’ home, is another mixed blessing from the leads. Eileen Heckart was said to be a wow in the role on Broadway, though she was known to play big, too. While Roz bravely goes glamour-free and plays her age, unlike most of her contemporaries, Russell plays to the rafters far too often. It’s a tricky role, because Rosemary is an over the top character, which can be problematic when played by an actress who is often the same. As often the case with a “big” performance, Roz fares best in the smaller moments, when her Rosemary shares the fear of growing old alone. Russell is obviously a skilled actress and a smart one, but like the other lead actors in this film, she would have benefited from a more experienced film director, and not a theater director whose film work showed a heavy hand.

Rosalind Russell emotes as Rosemary, the desperate school teacher in "Picnic."

Arthur O’Connell is appealing and effortlessly believable as Howard, the store owner across the river, who sees Rosemary, but from a safe distance. Betty Field doesn’t play brassy for a change, as Madge and Millie’s mother. Field’s Flo has been deserted by her husband to raise the two girls the best she can. Betty is totally natural as a woman whose dreams are now for her daughters. Only in a ‘50s movie would Susan Strasberg be cast as the “plain” sister. Susan’s naturalistic as the brainy kid sister (with eyeglasses!). Strasberg’s as emotional as Novak is remote as the pretty sister, Millie’s outburst—“Madge is the pretty one!”—was the “Marcia, Marcia, Marcia” of the ‘50s!

Lovely Susan Strasberg is Millie, Kim Novak's "bookworm" kid sister in "Picnic."

Cliff Robertson does what he can with the role Alan, the rich, weak kid.

In the smaller supporting roles, Nick Adams is cockily amusing as Bomber, the brash neighborhood teen; Verna Felton is most endearing as the neighbor lady who’s the first to befriend Hal; and Reta Shaw is salty as a fellow teacher. The entire supporting cast is strong, but it’s the three leads that are a mixed bag.

The superb supporting cast of "Picnic" bring reality to this slice of life drama.

Others have noted that Inge, just as popular as Tennessee Williams in the ‘50s, with a string of hits, isn’t as well remembered. Well, Williams went through a period where he was considered passé, too. I’ve read that it’s perhaps that Inge’s dialogue wasn’t as poetic and quotable. Still, William Inge did write plays about real people and their problems, often small town people. Come Back, Little Sheba, Bus Stop, Picnic, The Dark at the Top of the Stairs were huge hits. On film, he wrote screenplays for Splendor in the Grass and All Fall Down. Not too shabby!

Playwright William Inge & Director Joshua Logan surely loved this opening title!

Director Joshua Logan had an incredible string of musical, comedy, and dramatic successes on Broadway. That’s probably why Logan was asked to recreate some of those stage hits on film, as well as other blockbuster productions. That said, most films I’ve seen directed by Joshua Logan all seem a bit off-kilter: Picnic, Sayonara, South Pacific, Camelot, and Paint Your Wagon. The man had mad stage credentials, but I don’t think Logan was in film making on a regular basis to learn its intricacies. In Picnic, that’s apparent with the uneven lead performances and the very intrusive music score.

Madge gets out of Dodge at the finale of 1955's "Picnic."

Picnic is one of those movies which are frequently labeled dated. Indeed a product of its time, the drama is a snapshot of the repressed ‘50s. However, how much has really changed in small towns since then? We are obviously less repressed and are able to communicate through the internet and social media. Still, how many people feel stuck and stifled in small towns, with dreams that don’t come true? As someone who lives in rural Upper MI, I see it all the time. In that sense, Picnic is timeless.

My look at Kim Novak, teamed with Sinatra, in The Man with the Golden Arm: https://ricksrealreel.blogspot.com/2018/07/the-man-with-golden-arm-1955.html

And here’s my take on Rosalind Russell, in her signature role as Auntie Mame: https://ricksrealreel.blogspot.com/2020/12/rozs-signature-role-auntie-mame-1958.html

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The poster of "Picnic" promises more than it delivers--typical of the era!

It's Curtains for 'The Cobweb' 1955

One flew away from the cuckoo's nest!

“The trouble began…” So begins the fevered film version of William Gibson’s novel, The Cobweb. Gibson, best known as the playwright of The Miracle Worker and Two for the Seesaw, wrote the story, inspired by his psychotherapist wife's tenure at The Menninger Clinic. I’ve never read the book, but somehow I don't think the brilliant Gibson plotted The Cobweb like another MGM Grand Hotel-style, all-star soap opera. 

Pulp fiction? Playwright William Gibson's novel.

The original casting for the film’s romantic triangle was MGM mannequins Robert Taylor, Lana Turner, and Grace Kelly—this was more apt for the super-glam soap opera. Instead, familiar film noir faces Richard Widmark, Gloria Grahame, and Lauren Bacall assumed the roles of the idealistic clinic head, dissatisfied wife, and the lonely art therapist—which gives the film a bit of grit.

Sensitive Stevie Holte talks about flowers, art, and life with the sultry and sweaty doctor's wife, played by Grahame.

Widmark’s Dr. McIver has the cockeyed notion that patients should be treated like people, not caged animals, which has the old guard gunning for him, natch. On the home front, his wife Karen is bored in EVERY way. Since the doc is an idealist, Meg, the other woman who pines for him, is also so very noble.

Chaos over curtains for the library!

The film depicts the institution's staff and family as neurotic as the patients. At one point, Widmark declares that he feels they are all trapped—yes—in a cobweb! Only in the melodramatic world of Vincente Minnelli would a film's drama hinge on drapes. And it's curtains for The Cobweb characters, as the various contingents are determined to have their way over the patient lounge's new decor: Lillian Gish as the domineering Miss Inch is aptly named, as she never gives an one, and wants the curtains made cheap; Gloria Grahame's Vicki needs a project, with money or permission no object; and Lauren Bacall's art therapist Meg has the progressive idea of letting an angst-ridden artist/patient design them. Who will prevail?

Susan Strasberg & John Kerr play two patients, attracted to each other,
who venture to the outside world on a date.

MGM's then-resident sensitive young man John Kerr plays the troubled Steve Holte, who runs away from the clinic at the start and near the end of the film! While his performance is as good as the rest of the cast, Kerr's somewhat feral looks make it easy to see why his career was short-lived in an era of Tab Hunter types. But I found Kerry quite effective. 

One of many strange moments, when Richard Widmark tucks in his unbuttoned shirt
without unbuttoning his pants!

Richard Widmark was one of those golden era actors who seemed so natural on the screen and makes the preposterous proceedings almost believable here. Gloria Grahame's natural brass as his wife gives the soapiness some much needed humor. Also, was it in Gloria's contract that she always must look slightly sweaty? I was getting a Maggie the Cat vibe from Grahame here, as the frustrated wife who needs to cool off.

Lauren Bacall got second billing, but fourth-billed Gloria Grahame got all the scenes!

The movie is so overstuffed with characters and situations that Lauren Bacall has nothing to do but look lovely and lonely from the sidelines. Bacall doesn't even have a scene of her own until thirty minutes in and her first kiss with Widmark comes near the film’s finale. There is pleasure to be found in Lauren playing a sympathetic lead rather than her usual snarky self. Then-rising star Susan Strasberg has it even worse. Aside from a few scenes with Kerr toward the end, Strasberg’s always in the group scenes. Surprising, since Susan broke out big in Picnic the same year.

Gloria grabs the fabrics situation by the horn in this climactic curtain scene!

Lillian Gish is amusingly hammy as the firebrand Victoria Inch. And whoever thought of Charles Boyer for Dev, the clinic's former head honcho, must have been out of their mind. As the deluded, drunken, ladies man, Boyer, with his inimitable French accent, is somehow stuck out in the Kansas cornfields. He comes across like Pepe LePew, especially when drooling over Grahame’s character. Was it considered clever to cast Hollywood's most famous neurotic, Oscar Levant, as a mother fixated patient? For me, while rightly famed for his wit, his screen presence always escaped me. 

Fans of golden era Hollywood melodrama will probably The Cobweb, but other movie watchers will probably draw the drapes on this florid film.

Gloria Grahame brings the fever AND the floral curtains to 'The Cobweb!'

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