#brandon dewilde

[manderley]

Hud (1963) dir. Martin Ritt

[guy60660]

Paul Newman | Brandon deWilde

[itsmyfriendisaac]

Those Calloways: in this underappreciated Walt Disney classic, an eccentric family living out in the backwoods of Vermont work towards building their own sanctuary for migrating geese. Bucky Calloway does his best to make his father's dream a reality!

[kulturegroupie]

Brandon DeWilde, Linda Ronstadt, Miss Pamela Des Barres and Gram Parsons at the Whisky A Go Go, 1969.

[erstwhile-punk-guerito]

[vessels-for-good-intent]

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so i watched shane again cause i’m on break and i get to do what i want and every singe damn time i watch this i realize how GOOD THIS MOVIE IS

also like. shane/joe/marian would have been a really good throuple anyways i’m going insane alan with children is just so sweet

[truckman816]

Brandon DeWilde

[joemac03456]

Check it out

Brandon deWilde

[etmentummortaliatangunt]

Hud (1963 film). Here, Paul Newman carries Brandon DeWilde

[manderley]

Brandon de Wilde in The Virginian (1962)

[project1939]

200 Films of 1952

Film number 197: The Member of the Wedding

Release date: December 25th, 1952 

Studio: Columbia 

Genre: drama 

Director: Fred Zinnemann 

Producer: Stanley Kramer 

Actors: Ethel Waters, Julie Harris, Brandon De Wilde 

Plot Summary: (Based on the play by Carson McCullers.) Twelve-year-old Frankie is a sensitive and wildly emotional girl who feels left out and alone. When her older brother Jarvis arrives home with his pretty fiancée Janice, Frankie irrationally falls in love with them and the idea of their marriage. Her housekeeper/mother figure Berenice tries to gently talk sense into her, while her 6-year-old neighbor John Henry just wants to be her friend. 

My Rating (out of five stars): ****¼  

Films based directly on plays in 1952 are emphatically different than typical screenplay-based ones! Like Come Back, Little Sheba (film number 85), this was very dark, stark, and realistic. Both deal with subtler and more mature themes, and happy endings are eschewed for something painfully ambiguous. Each film has the hallmarks of theatrical adaptations: Dialogue and acting are front and center. They take place in only one or two settings, limiting the cinematography. The scenes tend to be much much longer, and the score is sparser. They are definitely not films the average Joe would like. (minor spoilers)

The Good: 

Ethel Waters. She was the highlight. Her acting was incredibly moving, and her character felt like the actual protagonist of the film, not Frankie. She played Berenice as a fully realized motherly character- there was none of that demeaning and racist “I sho’ does love servin’ white folks!” vibe. She felt like a real woman in her own right, with her own complex life.

Julie Harris. She played Frankie in the stage version, and although her performance is divisive today, for the most part I liked it. Yes, she threw loud obnoxious tantrums, but Frankie was clearly a highly highly sensitive girl experiencing the emotional hurricane of puberty. She acted externally the way I did internally at that age, so I could very much relate! Her “overacting” mostly worked for me because of that. 

Brandon deWilde. He played a really cute oddball well. His lackadaisical attitude, desire to hang out with a 12-year-old girl, and ease at which he tried on women’s clothing made me smile. 

The writing was good- it was smart, nothing was overly explained, and it was a pretty masterful character study of both Frankie and Berenice. 

I liked that the cast for the film was the same cast used in the acclaimed Broadway run. Most movies change some of the cast to add Hollywood star power. (Think Lancaster in Come Back, Little Sheba or Hepburn in My Fair Lady.) Ethel Waters was definitely famous, but she wasn’t a big movie star per se. Harris and deWilde both made their film debuts in this. 

I appreciated the unusual “plot” and theme. This isn’t really a coming-of-age film, although it’s advertised as such. Frankie goes from one obsession to another, essentially, and neither of them are about her blooming into adulthood. It’s really about characters, not about “growing up.” 

Damn, you could feel the Southern summer heat in this! Every character was sweating buckets, and the camera lingered on it. These were the days before air conditioning was widespread, and boy do you empathize! 

There was no easy happy ending- things were left quite sad and ambiguous. 

Ethel Waters got top billing, which was almost unheard of for a black actress in Hollywood then.

The Bad: 

Although Harris�� work was lauded in this, she does not look 12 by any measure. She was 26 or 27 when this was filmed, although she doesn’t look that old either. She could believably pass for 16-18 maybe, but 12 is really pushing it. There were times I could suspend my disbelief a little, but there’s no denying it detracted from the realism. I doubt any 12 year old actress could play a role this demanding, though.

Some things with Ethel Waters’ character Berenice were cut from the film version, which was a shame. She was the strongest part of the film for me, her acting unmatched. 

Like most theatrical adaptations it got too “talky” at times for a movie. “Show don’t tell” was not the motto here. 

It also felt “stagey”- you would never doubt this was originally a play. Because of this, sometimes scenes ran on too long. 

We have yet another misleading movie poster that dishonestly exaggerates non-existent salacious content! “A girl becomes a woman in the middle of a kiss” is the yuckiest kind of false advertising! It has nothing to do with this film! 

[itsmyfriendisaac]

♈ April 9th: Silver Screen Star, Brandon deWilde.

[theflapperdamefilm]

classic movies I just don't enjoy

The Women 1939: Very talky of a film, I don't like all of the gossipy characters. It's so in your face, and the humor just is not there for me. The brawl is also not funny, it's stupid. The ending is a let down as Norma Shearer's character goes back to her cheating husband. I don't understand this movie as feminist??? Who's classifying it as such, men??? In the eyes of women, it's not feminist.

Sullivan's travels 1942: I do not like Veronica Lake that much, even though I adore Joel McCrea. I just don't care about the story- or the chemistry.

Shane 1953: To me Alan Ladd is not cool. He isn't cool or aloof enough to be Shane. Plus this narrative is not tough, it's fluffy. I like my westerns a little bit gritty, as that is part of the atmosphere. Plus Brandon Dewild is annoying as hell, I know he is supposed to be cute, an innocent little boy, but instead he is annoying.

Giant 1956- While it is an epic, it's just a story I don't care about. A let down as James Dean had his last movie role in this movie. Plus his character flirts with both a mother and daughter throughout the course of the narrative, GROSS.

Irma La douce 1963: Yes a Wilder movie with Jack Lemmon, but I don't buy shirley Maclaine as a call girl. The plot drags and it is just boring. Plus the whole movie is just them hooking up, boring!

The way we were 1973- this movie is annoying. I do not buy the chemistry, as I think Katie does not have a romantic bone in her body; she is more so obsessed with social justice, and neglects her husband. Hubble on the other hand does not have substance, even though he is Robert Redford. While the title track song is iconic, the movie does not live forever, it's just so awful! !

[bndgdad4bndgson]

He is Brandon DeWilde an young actor from around the fifties/sixties. He pretty much showed if you get my drift!!!

[thediaryofabrokenenglishgirl]

The Member of the Wedding (1952) dir. Fred Zinnemann.

[timbo24901]

Wonderful! Thank you, Isaac, for this post! What a great actor. He's the spittin' image of my oldest brother, both in looks and personality.