Schweigende Lippen

That Jane Wyman, then in private life Mrs. Ronald Reagan, was able to find the strength to film this masterpiece of her career so soon after the birth and death of her baby daughter in 1947 is a glimpse to us of her utter sheer determination and complete professionalism. Miss Wyman uses milestones of her own life in her acting; she becomes the character and thus we catch emeralds and wheats, the good and the bad, the happy and the sad. It makes for a performance the audience never forgets and the film remains fresh after having had seen it several times. The supporting cast is pure gold. I understand that Jack Warner buried the film for nearly a year after completion and only got on the band wagon after Wyman made him take out an apology in the trades which lead to the big Oscar buildup which snagged Jane Wyman her best actress oscar for 1948. Sadly her greatest professional triumph marked also the death of her marriage to husband Ronald Reagan.

I had always written Jane Wyman off as just the ex-wife of Ronald Reagan and the matriarch of the Falcon Crest clan, but this movie really changed my mind about her. I was completely blown away by her performance as a deaf-mute. It is very easy to fall into stereotypes when playing physically challenged roles (especially in 1948), but Wyman underplays her part with great skill. She rises above the melodrama of the film without saying a single word and everything can be seen in her eyes. This film is truly a shining moment in her career.

This was an unusually atmospheric melodrama with four powerful performances from Jane Wyman, Lew Ayres, Agnes Moorehead and Charles Bickford--not to mention two supporting players, Stephen McNally and Jan Sterling who shine in their roles. McNally is the town bully who rapes Belinda, a mute girl being coached to understand sign language by resident doctor, Lew Ayres. The plot thickens when Belinda's father (Charles Bickford) finds out and the story spins toward a taut, melodramatic climax. All of it is raised to a higher level by the quality of the writing, acting and direction. Other top female performances that year (1948)included Olivia de Havilland (for 'The Snake Pit') and Barbara Stanwyck ('Sorry, Wrong Number'). That Wyman won over such competition is a testimony to her brilliant performance. A moving melodrama, absorbing and extremely well acted by the entire cast. A TV version was done more recently but, like most remakes, it paled in comparison.

To me the Academy Awards are much more a matter of industry politics than real artistic achievement. Here, however, that's definitely not the case. Wyman's deaf mute is one of the more moving portrayals that I've seen in some 60-years of movie watching. She manages to express more with her eyes alone than most actresses do with their entire emoting. Thanks to Wyman, it's a rare glimpse into a delicate soul, though I do hope she wasn't being paid by line of dialog.

In fact, the entire cast is outstanding, though visually McNally and Sterling approach caricature in his dark looks and her blonde cheapness. Of course, the topics of rape and a wedlock baby were pretty explosive stuff for the Production Code of the time, but the writers handle the material deftly. At the same time, the murder of MacDonald (Bickford) is often overlooked in terms of the Code. After all, the murder goes unrecognized in the courtroom accounting and in that sense goes unpunished even in an expanded moral sense.

Something should also be said about director Negulesco's compelling visual compositions. Happily, so many of the interior frames are arranged richly in detail, while the moody landscapes reflect a perceptive artistic eye. All in all, we get both an atmospheric fishing village and a series of eye-catching visuals both of which expertly complement the storyline.

No need to echo more aspects of this much-discussed film, except to say that Hollywood managed here to overcome one of the industry's biggest pitfalls—a kind of soap opera that's truly touching without being sappy. Thank you, Warner Bros.!

Am 79 years old. Saw it at age 23. Saw it again on TV tonight.It is still a stunning film, the black and white cinematography could not be achieved by many of today's a.s.c. people. Anybody can shoot color.

She was poignant in every scene. The northern California coast doubles nicely for Nova Scotia from whence my maternal ancestors emigrated.

I have difficult time seeing Lew Ayers not in a German soldiers uniform but he was wonderful in this as he was in "All Quiet..." Bickford is always Bickford but in this he is truly in character. And who can deny Moorehead? Direction is flawless as is the casting. The score is gripping.