Like all the studios Paramount did not believe in idle hands. In between Marlene Dietrich projects, Josef Von Sternberg got assigned to do this adaption of Theodore Dreiser's novel An American Tragedy. Of course Paramount's second adaption of this story A Place In The Sun is far better known.
Paramount was never known as a studio which did films with a message of social significance. Interesting to speculate what the results would have been had this been done at Warner Brothers. Von Sternberg did do a good piece of film making. But the story died at the box office. I suppose the story of a man trying to marry upward to secure a better place in society and the tragedy resulting just wasn't of interest to Depression audiences.
Whether it was or it wasn't Paramount sold the next one with sex, the love story of Montgomery Clift and Elizabeth Taylor heating up the screen. That went over big in 1951.
In this story Phillips Holmes is the ne'er do well relative of factory owner Samuel Griffiths who gives him a job in his factory, but keeps him at a distance socially. More than anything else Holmes wants acceptance from the upper crust.
At the factory he drifts into an affair with fellow worker Sylvia Sidney, but when he sees rich Frances Dee she's the ticket to all he's ever wanted. But Sylvia's now pregnant, what's a guy to do?
Dreiser's thoughts about class and class distinction are carefully preserved here. Yet in the most class conscious era in American history this didn't go over with the public. I guess even in those times you need a little sex to get people to the box office.
All the leads performed well and I also would commend Irving Pichel as the prosecuting attorney. This part was also a milestone for Raymond Burr who did it in A Place In The Sun.
An American Tragedy holds up well for today's audience which is also thinking about class distinctions and upward mobility today.
Paramount was never known as a studio which did films with a message of social significance. Interesting to speculate what the results would have been had this been done at Warner Brothers. Von Sternberg did do a good piece of film making. But the story died at the box office. I suppose the story of a man trying to marry upward to secure a better place in society and the tragedy resulting just wasn't of interest to Depression audiences.
Whether it was or it wasn't Paramount sold the next one with sex, the love story of Montgomery Clift and Elizabeth Taylor heating up the screen. That went over big in 1951.
In this story Phillips Holmes is the ne'er do well relative of factory owner Samuel Griffiths who gives him a job in his factory, but keeps him at a distance socially. More than anything else Holmes wants acceptance from the upper crust.
At the factory he drifts into an affair with fellow worker Sylvia Sidney, but when he sees rich Frances Dee she's the ticket to all he's ever wanted. But Sylvia's now pregnant, what's a guy to do?
Dreiser's thoughts about class and class distinction are carefully preserved here. Yet in the most class conscious era in American history this didn't go over with the public. I guess even in those times you need a little sex to get people to the box office.
All the leads performed well and I also would commend Irving Pichel as the prosecuting attorney. This part was also a milestone for Raymond Burr who did it in A Place In The Sun.
An American Tragedy holds up well for today's audience which is also thinking about class distinctions and upward mobility today.