Playwright Arthur Miller had a great deal at stake when his play 'All my Sons' opened on Broadway in 1947. He later admitted that had the play failed he would have been obliged to find another line of work. Directed by Elia Kazan and featuring a top notch cast it ran for almost two years. The rest, as they say, is history.
It did not take long of course for Hollywood to pounce and to make a version that Miller himself came to despise. This play is not the last in which Miller would show the darker side of the American Dream. Adaptor Chester Erskine has however, carefully removed any of Miller's leftist sentiments and the crime committed by Joe Keller in selling defective cylinders to the US Airforce, which results in the death of 21 pilots, is blamed on Keller's own greed rather than the Capitalist system that created him and so many like him.
To my knowledge there is nothing in the previous films of Irving Reis that would suggest his being capable of doing justice to this material and his direction lacks fluidity. He is aided by the 'noirish' touches of cinematographer Russell Metty and an understated score by Leith Stevens. In keeping with the inevitable compromise of film, some characters, notably Dr. and Mrs. Bayliss, have been diminished. Keller's business partner Deever who has taken the rap for the crime and is only spoken of in the play, is here given a speaking role which is filmically very effective. Deever's daughter Ann is played by Louisa Horton who is not a typical Hollywood glamour puss by any means but whose directness and sincerity make her excellent casting. This was to be her first and only film role of note. Burt Lancaster plays Keller's son Chris. Although keen to improve as an actor, Lancaster's charisma works against him here and he does not really convince as an average Joe. As Deever's son, Howard Gruff is as Duff as ever and strictly one dimensional. The strength of the film lies in the performances of Edward G. Robinson and Mady Christians as Joe and Kate. Robinson is superlative as a man whose outward bonhomie and confidence conceal a terrible sense of guilt. His assertions that he did it 'for the family' have a hollow ring. Kate is living in a fantasy world, clinging to the belief that their son Larry, reported lost in action, will return. The devastating scene in which she reads the letter confirming his death is beautifully played.
Ironically Miller, Robinson and Christians were all summoned by the HUAC for alleged Communist leanings. Miller emerged unscathed, Robinson's 'A' listing suffered throughout the 1950's until Cecil B. de Mille came to his rescue but Christians was not so fortunate. Her outspokenness not only shattered her career but ended her life.
This piece is decidedly not filmed theatre. It is cinema but alas, not great cinema.
It did not take long of course for Hollywood to pounce and to make a version that Miller himself came to despise. This play is not the last in which Miller would show the darker side of the American Dream. Adaptor Chester Erskine has however, carefully removed any of Miller's leftist sentiments and the crime committed by Joe Keller in selling defective cylinders to the US Airforce, which results in the death of 21 pilots, is blamed on Keller's own greed rather than the Capitalist system that created him and so many like him.
To my knowledge there is nothing in the previous films of Irving Reis that would suggest his being capable of doing justice to this material and his direction lacks fluidity. He is aided by the 'noirish' touches of cinematographer Russell Metty and an understated score by Leith Stevens. In keeping with the inevitable compromise of film, some characters, notably Dr. and Mrs. Bayliss, have been diminished. Keller's business partner Deever who has taken the rap for the crime and is only spoken of in the play, is here given a speaking role which is filmically very effective. Deever's daughter Ann is played by Louisa Horton who is not a typical Hollywood glamour puss by any means but whose directness and sincerity make her excellent casting. This was to be her first and only film role of note. Burt Lancaster plays Keller's son Chris. Although keen to improve as an actor, Lancaster's charisma works against him here and he does not really convince as an average Joe. As Deever's son, Howard Gruff is as Duff as ever and strictly one dimensional. The strength of the film lies in the performances of Edward G. Robinson and Mady Christians as Joe and Kate. Robinson is superlative as a man whose outward bonhomie and confidence conceal a terrible sense of guilt. His assertions that he did it 'for the family' have a hollow ring. Kate is living in a fantasy world, clinging to the belief that their son Larry, reported lost in action, will return. The devastating scene in which she reads the letter confirming his death is beautifully played.
Ironically Miller, Robinson and Christians were all summoned by the HUAC for alleged Communist leanings. Miller emerged unscathed, Robinson's 'A' listing suffered throughout the 1950's until Cecil B. de Mille came to his rescue but Christians was not so fortunate. Her outspokenness not only shattered her career but ended her life.
This piece is decidedly not filmed theatre. It is cinema but alas, not great cinema.