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The Lost Moment
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Wikipedia article
'The Lost Moment' is a 1947 melodramatic psychological thriller film with elements of horror directed by Martin Gabel and starring Robert Cummings, Susan Hayward and Agnes Moorehead.
The film was not well received at the time but its reputation has risen in recent years.LOST MOMENT, The
Monthly Film Bulletin; London Vol. 50, Iss. 588, (Jan 1, 1983): 170.
Plot
The movie mirrors some details of its source material and the broad outline of its plot, but it radically alters the characters, adding schizophrenia, a murder, and a fire.
A publisher, Lewis Venable, travels from New York to Venice, seeking to buy the 19th-century love letters of the late poet Jeffrey Ashton to a woman named Juliana Bordereau. He learns from a living poet, Charles Russell, that Juliana is still alive at 105.
Without announcing his intentions, Lewis assumes a false identity. He takes lodging at Juliana's and meets her great-niece Tina, a pianist.
In time, he discovers that Juliana is in dire need of money. She even offers to sell him a valuable painting at far too low a price. He also learns that Tina has dissociative identity disorder; at times believing that she is Juliana and the object of Ashton's love letters.
Charles tries to blackmail Lewis by threatening to reveal his true identity and his interest in acquiring the letters. Lewis comes to believe that Ashton was murdered and buried in the garden. As he prepares to leave, in a chaotic scene the house catches fire. He manages to save Juliana from the blaze, but the precious letters are lost.
Cast
* Robert Cummings as Lewis Venable
* Susan Hayward as Tina Bordereau
* Agnes Moorehead as Juliana Bordereau
* Joan Lorring as Amelia
* Eduardo Ciannelli as Father Rinaldo
* John Archer as Charles
* Frank Puglia as Pietro
* Minerva Urecal as Maria
* William Edmunds as Vittorio
Production
The film was produced at Universal Pictures by Walter Wanger, from a screenplay by Leonardo Bercovici based on the 1888 novella 'The Aspern Papers' by Henry James. Bercovici wrote the script in 1946 for Charles Feldman who developed several projects for the property. Wagner bought the script in January 1947 for a reported $200,000. (In fact no money changed hands - Wanger bought the script in exchange for a scenario called 'The Washington Flyer'.HOLLYWOOD MEMOS: Aid for Young Playwrights -- It Is, but It Isn't, 'The Aspern Papers' -- Addenda
By THOMAS F. BRADY. 'New York Times' 20 Apr 1947: X5.)
The script was called 'The Lost Love'. Wagner said the script would be directed by Martin Gabel, who had just worked as producer on 'Smash-Up, the Story of a Woman' for Wanger; that film starred Susan Hayward who would be in the new movie as well.MISS ROGERS GETS RIGHTS TO NOVEL: 'New York Times' 21 Jan 1947: 29.
Wagner said the character of James Aspern was a combination of Shelley, Keats and Byron. He would change the name of Aspern to Ashton to avoid "exploitation of the Bayer product."Receipts of 'Duel in the Sun' Mount as Protests Grow--Academy Note
By THOMAS F. BRADY. 'New York Times' 26 Jan 1947: X5.
In late February, Robert Cummings signed to make the film, which was then called 'The Lost Love'. (He was scheduled to do 'The Big Curtain' for Edward Alperson afterwards.) Filming began March 10, 1947.COTTEN TO APPEAR IN SELZNICK FILM: Actor Will Play Dual Role in 'Rupert of Hentzau,' Which Producer Is Remaking
By THOMAS F. BRADY 'New York Times' 1 Mar 1947: 11.
The set was not a tranquil one, with Hayward and Gabel quarreling over his interruptions of her line readings. After warning her director to stop, she reportedly picked up a lamp and threw it at him.Eduardo Moreno, The Films of Susan Hayward, Citadel Press, Secaucus, NJ, 1978, p. 103. Gabel never directed another motion picture.
In April the film was retitled 'The Lost Moment'.WALLIS ACQUIRES PLAY BY FLETCHER. 'New York Times' 8 Apr 1947: 34.
The music score was by Daniele Amfitheatrof and the cinematography was by Hal Mohr. The film stars Robert Cummings and Susan Hayward with Agnes Moorehead, Joan Lorring, Eduardo Ciannelli and Minerva Urecal.
The eerie atmosphere in the Venetian home was achieved through "tenebrous lighting, solemn rhythms and emphasis in music and sounds". Agnes Moorehead's makeover by Bud Westmore into the 105-year-old woman was the subject of magazine articles for months after release.DRAMA AND THE ARTS: Agnes Moorehead's Role New Miracle of Make-up
Strong, E J. Los Angeles Times 4 May 1947: C1.
Reception
Critical
The film was not well received by critics upon release, "written off as being rather gloomily literary." Bosley Crowther of 'The New York Times' considered the film to be "little more than the average horror", believing that Robert Cummings and Susan Hayward had little chemistry, saying "Miss Hayward performs as the daft niece with a rigidity that is almost ludicrous, and Mr. Cummings has the unctuous manner of a nice young undertaker as the publisher. Eduardo Ciannelli is professional, at least, as a priest." 'Newsweek' said: "Frankly, admirers of Henry James have cause for complaint, and the average moviegoer will probably complain of boredom." 'The New Republic' said that "Robert Cummings gives a performance that is probably meant to be sensitive but turns out to be unctuous". The 'New York World Telegram' called the film "ponderous, majestic and thoroughly dull".The film has sometimes been seen in a more favorable light. 'Time Out' said that the film is a "remarkably effective adaptation of Henry James' 'The Aspern Papers', closer to the shivery ambience of 'The Innocents' than to the oh-so-discreet charm of 'Daisy Miller' or 'The Europeans'." David Thompson said that the film was "beautifully shot". Hayward's filmographer Eduardo Moreno felt that the subtle characterization of the baffling heroine was one of her finest performances.Moreno p. 122.
Box Office
The film recorded a loss of $886,494.References
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