The Heiress is a 1949 American romantic drama film directed and produced by William Wyler, from a screenplay written by Ruth and Augustus Goetz, adapted from their 1947 stage play of the same title, which was itself adapted from Henry James' 1880 novel Washington Square. The film stars Olivia de Havilland as Catherine Sloper, a naive young woman who falls in love with a handsome young man despite the objections of her emotionally abusive father who suspects the man of being a fortune hunter. Montgomery Clift stars as Morris Townsend and Ralph Richardson as Dr. Sloper.

The Heiress premiered in Los Angeles on October 6, 1949, and was theatrically released by Paramount Pictures on December 28, 1949. Although a box office failure, grossing $2.3 million on a $2.6 million budget, the film garnered critical acclaim, with reviewers praising Wyler's direction, its screenplay, and the performances of the cast. The film received a leading eight nominations at the 22nd Academy Awards, including for the Best Picture, and won four awards (more than any other film nominated that year): Best Actress (for de Havilland), Best Original Score, composed by Aaron Copland, Best Production Design, and Best Costume Design.

In 1996, The Heiress was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

Universal Pictures, through its EMKA division, currently handles distribution of the film.

Plot

In 1849 New York City, Catherine Sloper, an inhibited, plain young woman, lives with her wealthy father, Dr. Austin Sloper, in prestigious Washington Square. Catherine's beautiful and accomplished mother died giving birth, and Catherine's awkwardness constantly reminds her father of the poor exchange for his beloved wife. Widowed Aunt Lavinia Penniman, on an extended visit with her brother, helps Catherine improve her social skills.

At a ball, Catherine meets handsome, charming Morris Townsend, a polished young man who squandered a small inheritance on a European Grand Tour. Encouraged by Aunt Penniman, Morris artfully pursues Catherine, who he knows through her family connections will inherit $30,000 annually. At first Catherine is overwhelmed by his persistence; starved for affection, however, she quickly falls in love. Suspecting Morris is a fortune hunter, Dr. Sloper consults with Morris's widowed sister, who reluctantly makes admissions that confirm Sloper's opinion.

Before approaching Sloper to formally request Catherine's hand in marriage, Morris improperly makes Catherine pledge herself to him. Pointing out the impropriety, Sloper rejects him. When Catherine persists, Sloper insists on taking her on an extended European trip to separate the pair as a test. Catherine informs Morris that she already has a substantial $10,000 inheritance from her mother and does not need her father's approval. Morris claims that he is loath to estrange her from her father, and she should appease him.

thumb|upright=1.15|Olivia de Havilland as Catherine Sloper, a plain and shy young woman, who constantly disappoints her father with her lack of social graces.

thumb|upright=1.15|At a ball, Catherine meets Morris Townsend, a handsome and charming, but impoverished, young man who knows she is heiress to a great fortune.

thumb|upright=0.75| Ralph Richardson plays Doctor Austin Sloper, who threatens to disinherit Catherine if she marries Morris Townsend, who he considers a fortune hunter.

thumb|upright=0.75|Miriam Hopkins plays Lavinia Penniman, Catherine's aunt, who in good faith aids Morris Townsend in pursuit of Catherine.

thumb|upright=1.15|Years after having been abandoned, wealthy Catherine again is courted by Morris Townsend. She is now able to deal with him confidently.

While Catherine and her father are away, Morris frequents the Sloper home like a private club, enjoying Aunt Penniman's hospitality and Sloper's cigars and brandy. Disappointed with his daughter's intransigence in her devotion to Morris, Sloper cuts the trip short. Upon returning home, he reveals to Catherine his low opinion of her merits, believing her dim for thinking any suitor would have an interest in her beyond her inheritance. He threatens to cut her out of his will if she marries Morris. Catherine now fully realizes the depth of her father's disdain.

Wounded and angry, Catherine is convinced that Morris's love is compensation for her father's coldness. She begs Morris to arrange their immediate elopement, not wanting to spend another night in her father's home. Morris holds out hope that her father will eventually relent, but Catherine insists that even if her father relents, she will never accept anything from him again. Reluctantly, Morris agrees to elope and leaves to pack his belongings.

Catherine waits with her bags packed, and Aunt Penniman stays with her, dismayed that Catherine revealed to Morris that there would be no money from her father. As the appointed time comes and passes without his arrival, Catherine realizes that Morris has abandoned her. Pondering why Morris was not satisfied with her substantial $10,000 left by her mother, her aunt explains it is a disappointment because he expected she would also receive an additional $20,000 upon her father's death.

Days afterward, Sloper reveals he is dying and asks Catherine when she plans to leave with Morris. When Catherine admits that the elopement is off, Sloper expresses pride that Catherine has rejected Morris, but Catherine bitterly informs him that she was jilted. Catherine shrilly expresses that Sloper has denied her even the chance to "buy" a husband who at least would hide that he does not love her. She tells her father that if he leaves her his money, he will never know whether she wastes it on Morris or another fortune hunter. Sloper admits that he does not want to disinherit her and accepts that she can do as she pleases when he is gone. Hardened, Catherine refuses to come to his bedside as he is dying.

Years later, wealthy, independent, and single, Catherine still lives in the Washington Square house with her aunt. Aunt Penniman informs Catherine that Morris has returned from California and wishes to explain himself. Initially reluctant, Catherine eventually agrees to see him. Now destitute, Morris attempts to win Catherine back, saying that he left, selflessly, not to estrange her from her father. Chiding him for not being as impetuous as he used to be, Catherine suggests they carry out the delayed elopement. Morris eagerly leaves to pack. When Morris returns to take her away, Catherine has bolted the door against him, leaving him desperately pounding on the door as she turns off the lights and goes to bed.

Cast

  • Olivia de Havilland as Catherine Sloper
  • Montgomery Clift as Morris Townsend
  • Ralph Richardson as Dr. Austin Sloper
  • Miriam Hopkins as Lavinia Penniman
  • Vanessa Brown as Mariah
  • Betty Linley as Mrs. Montgomery
  • Ray Collins as Jefferson Almond
  • Mona Freeman as Marian Almond
  • Selena Royle as Elizabeth Almond
  • Paul Lees as Arthur Townsend
  • Harry Antrim as Mr. Abeel
  • Russ Conway as Quintus
  • David Thursby as Geier

Production

After seeing The Heiress on Broadway, Olivia de Havilland approached William Wyler about directing her in a screen adaptation of the play. He agreed and encouraged executives at Paramount Pictures to purchase the rights from the playwrights (Ruth and Augustus Goetz) for $250,000 and offer them $10,000 per week to write the screenplay. The couple were asked to make Morris less of a villain than he was in their play and the original novel in deference to the studio's desire to capitalize on Montgomery Clift's reputation as a romantic leading man.

The film premiered at Radio City Music Hall in New York City on October 6, 1949. Currently, the film holds a perfect 100% approval rating with an average rating of 9.0/10 on the review aggregation website Rotten Tomatoes based on 14 reviews.

Pauline Kael wrote, "[At] first the period settings and clothes may make the movie seem a little heavy and stagey, but then Wyler's mastery of the psychological nuances can have you drawing deep breaths. It's a peerless, super-controlled movie, in the same mode as Wyler's 1952 Carrie, though more fully sustained. Wyler's greatness here is that he can hold the elements of the film in his palm without constricting the actors. He frees them."

The Brooklyn Eagle found the film "an intensely satisfying drama that holds a high level of interest throughout, building relentlessly to a moving climax." Praise for the principals lauded de Havilland especially: "[The] transformation of Catherine Sloper from a pathetically shy girl to a cold, handsome woman" being "handled with finished skill."

The Philadelphia Inquirer praised the Goetzes for a skillful transformation of their stage version, finding it "in almost every way...superior." Prospects of an Academy Award for de Havilland were judged "thoroughly reasonable" as well.

TV Guide rates the film five out of a possible five stars and adds, "This powerful and compelling drama...owes its triumph to the deft hand of director William Wyler and a remarkable lead performance by Olivia de Havilland".

Time Out London calls the film "typically plush, painstaking and cold...highly professional and heartless."

Channel 4 stated, "[De Havilland's] portrayal...is spine-chilling...Clift brings a subtle ambiguity to one of his least interesting roles, and Richardson is also excellent."

Influence

Martin Scorsese has cited The Heiress as a key influence on his 2023 film Killers of the Flower Moon. Specifically, the portrayal of Mollie Kyle and her relationship with her husband Ernest Burkhart drew inspiration from de Havilland's portrayal of Catherine and her relationship with Morris.

In 1975, the twenty-first episode of the eighth season of The Carol Burnett Show featured a takeoff of the film titled "The Lady Heir," with Carol Burnett as Catherine and Roddy McDowall as Morris.

Awards and nominations

{| class="wikitable plainrowheaders"

|-

! Award

! Category

! Nominee(s)

! Result

|-

| rowspan="8"| Academy Awards

| Best Picture

| rowspan="2"| William Wyler

|

|-

| Best Director

|

|-

| Best Actress

| Olivia de Havilland

|

|-

| Best Supporting Actor

| Ralph Richardson

|

|-

| Best Art Direction-Set Decoration – Black-and-White

| John Meehan, Harry Horner and Emile Kuri

|

|-

| Best Cinematography – Black-and-White

| Leo Tover

|

|-

| Best Costume Design – Black and White

| Edith Head and Gile Steele

|

|-

| Best Scoring of a Dramatic or Comedy Picture

| Aaron Copland

|

|-

| rowspan="3"| Golden Globe Awards

| Best Actress in a Motion Picture

| Olivia de Havilland

|

|-

| Best Supporting Actress – Motion Picture

| Miriam Hopkins

|

|-

| Best Director – Motion Picture

| William Wyler

|

|-

| rowspan="2"| National Board of Review Awards

| colspan="2"| Top Ten Films

|

|-

| Best Actor

| Ralph Richardson <small>(also for The Fallen Idol)</small>

|

|-

| National Film Preservation Board

| colspan="2"| National Film Registry

|

|-

| rowspan="2"| New York Film Critics Circle Awards

| Best Actor

| Ralph Richardson

|

|-

| Best Actress

| Olivia de Havilland

|

|-

| Writers Guild of America Awards

| Best Written American Drama

| Ruth Goetz and August Goetz

|

|}

See also

  • Gothic romance film
  • The Heiress essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010 , pages 426–427

References

  • The Heiress: A Cruel Inheritance by Pamela Hutchinson at the Criterion Collection