The wickedly clever premise of A Letter to Three Wives is a brilliant jumping-off point for a clever and astute screenplay. The film's three different but equally troubled marriages offer an insightful glimpse into the gender politics, rotting class distinctions, and social mores of America in the mid-20th century. Unlike many filmic depictions of women of this era, the three leads in A Letter to Three Wives are not stereotyped or pigeon-holed. Each one is independent and strong, despite nagging doubts about the strength of her marriage. Joseph L. Mankiewicz's script goes right for the throat of middle-class suburban values via some very sympathetic characters; if the mix is occasionally uncomfortable (the characters are a bit too likeable to be skewered so harshly), the aim is straight and true. The stars play no small part in the film's success, especially Ann Sothern's poised performance as the ambitious writer for radio programs and Linda Darnell as the rough, self-doubting girl from the wrong side of the tracks. Visually, the film adds little to the art of cinema, but Mankiewicz's writing is a wonder. The following year, he wrote and directed the legendary All About Eve, leading to an unprecedented Academy Award record: Mankiewicz won Best Director and Best Screenplay for both movies, in consecutive years.
January 21, 1949
' A Letter to Three Wives' Opens at Music Hall -- 'Man From Colorado' at Capitol
By BOSLEY CROWTHER
Published: January 21, 1949
Within the absorbing contents of "A Letter to Three Wives," Joseph L Mankiewicz is peddling some pretty good wisdom and advice. The wisdom, tucked off in corners of this tri-paneled comedy-romance, is that love is a volatile something which can quickly evaporate unless it is constantly guarded with understanding and care. And the advice, angled mainly to the ladies, is never to speak harsh words (or such) to their true-loving husbands who may leave them and never return.
Indeed, it is just such a prospect—the prospect of hubby taking off—which suddenly confronts the three mesdames of the title in the Music Hall's new film. Just as they're starting out one mornin to take some kids on a river-boat picnic, these three country-club wives in a small town get a letter from a local friend. The friend very graciously informs them that she is eloping with the husband of one. Provokingly, however, she fails to tell them the husband of which.
And so, while these three anxious ladies are shanghaied all day with the kids, they have plenty of time to wonder—and reflect on their married lives. The one who snagged her helpmate while he was a sailor and she a Wave has little more to disturb her than the thought that she lacks sufficient "class." But the one who is a radio-writer and has been letting her mind get rather blunt has the disquieting realization that she has fallen a bit beneath her spouse. And the third one—the hard-boiled gold-digger who deliberately roped her hard-boiled man—has the frightening knowledge that, while she loves him, they have each let the other down.
Thus, in the reflections of these ladies, Mr. Mankiewicz cleverly evolves an interesting cross-sectioned picture of the small-town younger-married set. And as writer as well as director, he has capably brought forth a film which has humor, scepticism, satire and gratifying romance.
The fact that so many paces are put on display in this film forewarns that a certain unevenness is likely to occur. And it must be admitted frankly that the whole thing is not in perfect time. The earlier phases are draggy and just a bit obvious. And because this is so, the episodes involving Jeanne Crain as the ex-Wave and Ann Sothern as the radio-writer do less to enhance those stars.
But the final romantic remembrance—that of the hard-boiled wife—is a taut and explosive piece of satire, as funny and as poignant as it is shrewd. And it is played with coruscating vigor by Linda Darnell in the gold-digger role and by Paul Douglas as the rough-cut big-shot whom she tangles with frank and ancient wiles. Indeed, this one rough-and-tumble between Mr. Douglas and Miss Darnell is deliciously rugged entertainment, the real salvation of the film.
For in it are also included Connie Gilchrist as Miss Darnell's old ma and Thelma Ritter as a beerguzzling neighbor with remarkable and funny things to say. And the blatherskite performances of these two, punctuated with rowdy backhand swipes, give a wonderful shanty-town setting to a vulgar yet pathetic romance.
It wouldn't be fair to tell you whose husband it is that runs away. But the outcome is thoroughly satisfactory—and so is the film—by us.
On the stage at the Music Hall are Jean Gibbons, Robert Hayden, Paul Winchell and Jerry Mahoney, Francis Hin Lowe with Jean Letourneau, Giselle and Francois Szony, the Corps de Ballet, Glee Club and Rockettes.
A LETTER TO THREE WIVES, screen play by Joseph L. Mankiewicz, from the Vera Caspary adaptation of John Klempner's story; directed by Mr. Mankiewicz; produced by Sol C. Siegel for Twentieth Century-Fox. At the Music Hall.
Deborah Bishop . . . . . Jeanne Crain
Lora May Hollingsway . . . . . Linda Darnell
Rita Phipps . . . . . Ann Sothern
George Phipps . . . . . Kirk Douglas
Porter Hollingsway . . . . . Paul Douglas
Babe . . . . . Barbara Lawrence
Brad Bishop . . . . . Jeffrey Lynn
Mrs. Finney . . . . . Connie Gilchrist
Mrs. Manieigh . . . . . Florence Bates
Mr. Manleigh . . . . . Hobart Cavanaugh
Kathleen . . . . . Patti Brady
Miss Hawkins . . . . . Ruth Vivian
Sadie . . . . . Thelma Ritter
Messenger . . . . . Carl Switzer
SUBS INCLUDED
If any interest I can upload Three Secrets-1950- as well
