Kitty (1945): Paulette at Her Peak

In 1944, Kathleen Winsor's novel Forever Amber swept the country. The tale of a lusty British wench who sleeps her way to the court of Charles II both titillated and fascinated readers. It didn't take Hollywood long to start clamouring for the rights to the story. In the end 20th Century-Fox claimed the blockbuster tale, but Paramount, not willing to be left in the dust, started production of its own Amber facsimile, Kitty, which premiered two years before its cinematic rival. Complete credit for the gorgeous period flavor of the film must go to its director Mitchell Leisen. Beginning his career as a set designer, Leisen's work as director always displayed a superb sense of style. His artistic background and eye for detail came together in a visually sumptuous setting.

Based on a novel by Rosamond Marshall, Kitty ~ played by the pert and very pretty Paulette Goddard ~ is an 18th century guttersnipe (i.e. wanton, poverty-stricken petty thief in this case) who tries to steal from famed English painter Thomas Gainsborough (Gainsborough's celebrated work is the figure The Blue Boy). When she is caught, the artist is struck by her good looks under the dirt and rags she wears. Instead of casting her into prison, he hires her to pose for him (in a better set of clothes of course) and when the portrait is exhibited, all of London is enthralled with the mysterious beauty. In on the charade is the attractive but penniless and mercenary fop, Sir Hugh Marcy (Ray Milland), who takes Kitty in as a servant for the household he shares with his aunt, Lady Susan Dowitt (Constance Collier). Seeking revenge on the Duke of Malmunster (Reginald Owen, in rare form), who is fascinated with Kitty's portrait, Sir Hugh tries to pass his ward off as a lady to the Duke, with both humorous and sinister bumps along the way.

For the plum title role, the studio cast its comely and vivacious contract star Paulette Goddard. Always a popular screen figure, Paulette was at her professional peak and most consider Kitty her best role. She goes from guttersnipe to duchess in such a charming manner, that you don't think of how improbable the situation is. Goddard relayed her own legendary charm and charisma with men to the character, with charming and charismatic results. Ray Milland, as Sir Hugh Marcy, pompously primps and preens and his Sir Hugh is one of the weaker elements in the film. There is no redeeming quality to him through the entire movie, other than his initial kindness in letting the waif live with him rather than go back to the hovel she shares with a hag named "Old Meg" and her "girls". Kitty is part Eliza Doolittle, part Amber St. Clair but Milland's Marcy hasn't the charm of Henry Higgins nor the romantic fervor of Amber's Bruce Carleton. Why Kitty falls head over hells for this lout is beyond me. Nevertheless, the story is a fine one and Leisen's handling makes it even finer.

Of course there is strong support in the way of Patrick Knowles as Kitty's aristocratic suitor, Sara Allgood as Old Meg, the snaggle toothed hag and Cecil Kellaway, who charmingly portrays the painter Gainsborough. Not to be forgotten is Constance Collier as Lady Susan. Her husky, gin soaked accent from across the pond was authentic enough that she was hired as Goddard's voice coach. For Paulette's cockney dialect, Connie Emerald, mother of Ida Lupino, was hired.

Kitty was a high point for Goddard. Her vivacity and charm lent itself very well to the distinguished good taste of Mitchell Leisen's production. Though the efforts of all involved were noble ones, it is the combination of star and director that make Kitty memorable.

Review: The Uninvited

One of the finest examples of a ghost story in Hollywood during it's Golden Age is the stylish and haunting The Uninvited from Paramount in 1944. More spooky than scary, more mystery than horror, The Uninvited has an actual supernatural element not seen in most films of it's day. There's no "ah, that explains how that happened" twist at the ending but instead, an open honest look into the paranormal with no excuses.

The story, based on Dorothy Macardle's novel, is of London siblings (Ray Milland and Ruth Hussey), both unmarried, who buy a grand old home, Winward House, on the Cornish coast of England. The current owner, stiffly upper crust Donald Crisp, lets the place go for a song. Hmmm....Come to find out, things were not always so grand and elegant at Winward House and to the new owners chagrin, they find that it is haunted. The film does offer a few unrealistic glitches, like Milland going sailing on a whim in his tweeds, tie and best fedora or the fact that the siblings, out of the blue, decide to plunk their life savings into a decades old house the same day they discover it. But no matter, these missteps can be overlooked in lieu of the finer elements displayed throughout the film.

The Uninvited is somewhat reminiscent of Hitchcock's Rebecca (1940), not in storyline as much as in atmosphere and character. Like Rebecca, the setting is a large stately house on the coast of England. The house is filled with the memory of it's former mistress, Mary Meredith (heck, it's filled with her very spirit, as she's the one haunting it), and there's even a creepy, dark haired mystery woman, who is unyieldingly devoted to the memory of the dead woman, such as Mrs. Danvers was in Rebecca. More than one film analyst has noted the obvious lesbian theme related to this character, Miss Holloway. It is a role that Gale Sondergaard would have excelled in.

The movie is chilling without the use of modern special effects, though the one camera trick that is used, the spectre of Mary Meredith, is very effective. The atmosphere is instead achieved through expert black and white cinematography by Charles Lang, whose masterful use of light and shadow earned him an Oscar nomination. Also a top asset for the film was it's haunting, romantic score by Paramount's resident composer, Victor Young, which includes the lovely tune Stella by Starlight.

Besides Milland, at his devil may care best, and Hussey (too attractive and refined not to be married), the cast includes the afore mentioned Donald Crisp, stage actress Cornelia Otis Skinner, as the eerie Miss Holloway and beautiful, young Gail Russell, who is "introduced" in her role as the daughter of the dead Mary Meredith (in reality she had appeared in the low budget Henry Aldrich Gets Glamour the previous year). An interesting side note, the same year The Uninvited was released, Gail Russell played her co-star, Cornelia Otis Skinner, in Paramount's Our Hearts Were Young and Gay, which recounted Skinner's early years abroad.

Kitty: Regency Magic

Paulette Goddard was one of the top stars at Paramount during the 1940's, starring in everything from comedies (The Ghost Breakers) to wartime dramas (So Proudly We Hail) but no film showcases her charming persona and acting abilities like Kitty (1945). Made at the height of her career, Goddard gives what many consider her best performance as an 18th century guttersnipe who marries her way up the social ladder to become a duchess.

Kitty is part Eliza Doolittle (Pygmalion), part Amber St. Clair (Forever Amber) and part Becky Sharp (Vanity Fair). The one constant in her life during her rise to social prominence is her love for caddish rogue Ray Milland. It's the only part of the movie that rubs me the wrong way. Why she would go to the lengths she does for Milland's ungrateful, foppish Sir Hugh is beyond me! The film's sets are as lush and gorgeous as it's heroine is comely, being Oscar nominated for Art Direction-Interior Decoration-Black & White.

Acting highlights include Constance Collier as a tipsy grifter who befriends Kitty and Reginald Owen in a delightful performance as the wealthy if long in the tooth Duke of Malmunster who takes a fancy to the beautiful Kitty.