Annie Laurie, Slight Reprise


One night after being wowed by WILD RIVER, we sat down to A TREE GROWS IN BROOKLYN, Elia Kazan’s first feature. Ironically, the blue and golden light of the 1960 movie had caused me to erroneously deduce it to be photographed by Leon Shamroy, whereas ATGIB really IS shot by Shamroy, and by Kazan’s own account, the visual direction of the film is largely Shamroy’s — Kazan wasn’t technically confident at all, and so was encouraged to direct it like a play, with Shamroy figuring out how to cover it. The performances are superb, but I also wanted to compliment Kazan’s visuals, but I guess they’re Shamroy’s. (Lyle R. Wheeler’s production design is also remarkable — always a bit weird seeing huge Hollywood resources targeted at recreating poverty, and Kazan himself felt he failed to capture the real quality of slum life, which he knew well — the sets impart an epic scope which mitigates against the movie becoming depressing.)

Kazan confesses to manipulating tears from his young star, Peggy Ann Garner by discussing her father, who was in the air force, and subtly implying that he might never come back from the war. Later, when the scene required her to mourn her character’s dad, he just needed to reconnect her to that emotion, and it was unleashed. Then his producer ordered him to reshoot it because it was too raw, too mushy — filming her with her back to the camera resulted in a more discrete and affecting emotion. It’s very frequently true that the audience won’t engage with shocking displays of raw emotion — too much of the work is done for us and we can’t find space for our own reaction. I must say, my face was soaking by the end of this movie. It’s a movie with a free wash thrown in.

Kazan’s secret weapon is James Dunn as the drunken father, whose rendition of “Annie Laurie” was the only scene in the movie I knew. Kazan’s assistant Nick Ray, a lifelong alcoholic himself, spoke with immense admiration of the director’s patience in coaxing that performance out of a vulnerable man. Kazan chose Dunn because he WAS the character: once a promising star, his career had been wrecked by booze. The disappointment and sense of personal failure were written in his face. Rather cruelly, Kazan was making Dunn play himself, and making him confront his own inadequacies, but he also got from him his one really effective performance, and immortalized him.


Most people seeing this film have never seen Dunn in anything else, but because I love pre-codes I’d seen him in SAILOR’S LUCK, THE GIRL IN 419 and TAKE A CHANCE. My impression was always one of desperation, eagerness to please that shades into mania, anxiety trying to look like charm, flop sweat personified. All those qualities can now be acknowledged and used, which allows the actor’s real charm to emerge around the edges.

Also nice — Joan Blondell, of course, a pre-code performer who was always utterly relaxed and natural, Dorothy McGuire excellent in a challenging part, the underrated Lloyd Nolan… and it’s always nice when James Gleason drops the why-I-oughta schtick (which he was so good at) and plays a human being (see also NIGHT OF THE HUNTER).


“They should stop making films,” I said to Fiona afterwards, drying my soggy face. “After this, it’s all just noise.” I suppose I’ll get over that feeling — I have to, I’m making a film of my own — but when a film is this powerful, it puts a lot of stuff in the shade. Through a mix of blind ego and ignorance I’m able to make my little films and not worry about comparisons with the greats, most of the time, but once in a while I see something and think, “Well, I can’t even hope to touch that…”

8 Responses to “Annie Laurie, Slight Reprise”

  1. It was tough watching it as a kid on TV, wrenching and hopeful at the same time, something I learned to see in other, more real circumstances as I grew up. I didn’t know any alcoholics, at least consciously, at the time, and it was rather scary watching Dunn flail. A favorite, though even then, it caught a children’s view oh so well.

  2. Again, I think the child’s view keeps it from being downright depressing. Children are inherently somewhat optimistic — something I think a lot of social realist stuff misses.

  3. Get out your hankies again. Here’s Barbara Cook with the big ballad from the musical version of ATGIB

  4. The Chiseler Says:

    Dunn is one of my favorite actors. He was in the darkest pre-Code film: OVER THE HILL, directed by the under-sing Henry King.

  5. Fee here. I did warn him. I said, “It will crush you.”

  6. I don’t think I’ve seen Over the Hill
    I must!

  7. Hurrah for Brooklyn! I’m glad you’ve had the ATGIB experience at last.

    IIRC the movie covers only the first half or so of the book, yet is startling true to it, and just startling in general. The hopeful ending still feels like a truthful outcome of the family dynamics we’ve seen (which are familiar to many, in some variation) — and is justifiably hopeful, given that Francie did grow up to write ATGIB.

  8. It treads a precarious course, managing not to be TOO enchanted with the character’s precocious authorial traits. And I loved the portrayal of the marital tensions between a realist and a dreamer, which I’ve certainly seen in people around me.

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