This odd film offered Ida Lupino a lead role that paid the bills as she was preparing projects for her new production company now that her Warner Bros. contract work was completed. Her new husband Collier Young was a producer at Columbia and according to Lupino’s biographer William Donati she hoped that by choosing a Columbia script she would at least see Collier on a regular basis. However, Lust for Gold was a location shoot in Arizona for much of the time. Lust for Gold, as the title baldly suggests, is a story about a real life mystery – a ‘lost gold mine’ on Superstition Mountain in Arizona – and the people who will go to any lengths to find it. In fact, this is arguably the most often quoted ‘lost treasure’ story in the Americas with many references in American popular culture and the development of what is now a mythical story based on ‘real’ events.
The script embraces the mythological/real basis of the ‘Lost Dutchman’s Mine’ by setting the story in the present and revealing the original events as a Western narrative via a prolonged flashback. In the present, ‘Barry Storm’ (the pen name of the writer of a 1945 book about the myth) travels to the mountain, claiming he is a descendant of the original ‘Dutchman’, the German migrant Jakob Walz. Storm is involved in a shooting on the mountain and encounters the local sheriff and his men. With what the sheriff tells him and further research in newspaper archives of the 1880s and talking to elderly locals he pieces together a possible scenario – which leads into the flashback with Glenn Ford, Columbia’s go-to leading man for this kind of film. He plays Walz who finds the original mine and then hits town where Ida Lupino is Julia Thomas, from a German family in Milwaukee and who runs a small bakery shop. Julia is married to the spineless Pete (Gig Young) but she sees an opportunity to seduce Jakob and find the gold for herself. It’s a risky business as the whole town knows about the find. What follows is a classic Western melodrama which ends in disaster and takes us back to the present where Barry Storm becomes involved in a typical Hollywood ‘resolution’ that maintains the integrity of the ‘lost gold’.
I need to admit that at times this is very serviceable entertainment. At other times it threatened to lose my interest. The film was originally intended to be directed by the highly experienced director George Marshall but when he was not available it was passed to S. Sylvan Simon who was arguably better known for comedies. It turned out to be Simon’s last film as director as he died suddenly aged just 41 a couple of years later. Ida Lupino gives a committed performance as usual and the other leads are fine. Glenn Ford with beard and unruly hair certainly looks different and his character is vicious, even by the standards of later Westerns. Several of the minor players are of interest, including Jay Silverheels as a sheriff’s deputy in the contemporary-set scenes. For children of my generation he was ‘Tonto’ in The Lone Ranger series on TV and, as the sheriff, Paul Ford is fondly remembered as the commanding officer trying to keep Sgt. Bilko in check in the Bilko/Phil Silvers TV series in the 1950s.
For Ida Lupino this was one of the films she worked on with Archie Stout as cinematographer. Stout, like other crew members was impressed by the way Ida stayed out on location in the blazing sun in order to see how the production functioned rather than heading back to town as soon as her scenes were completed. Stout would become one of her own loyal crew members happy to tell anyone who asked that Ida Lupino knew more about angles and lighting than most of the directors he worked with. Certainly, the experience on Lust for Gold must have been very useful when The Filmakers were shooting on location in similar terrain for The Hitch-Hiker in 1953.
This was the fourth feature directed by Ida Lupino and produced by her husband Collier Young for their company The Filmakers. It has received far less attention than the first three and suffered more from a critical dismissal. I think there are two reasons for this. First, its subject matter is less sensational/socially conscious than the first three (which deal with unwanted pregnancy, polio and its effect on young lives and rape) and secondly it is adapted by Martha Wilkerson from a novel (or possibly a short story) by John R. Tunis. On the previous three pictures, Lupino and/or Young had been involved in the writing. My own feeling is that although the film has weaknesses it is overall a well-made film on a modest budget that has several good points and provides both an enjoyable entertainment and food for thought – partially provided by the original material by John R. Tunis.
The best way to describe this 77 minute picture is as a sports film and family melodrama hybrid. It tells the cautionary tale of a young female tennis star and her pushy mother played by Sally Forrest and Claire Trevor, the two stars in the cast. Forrest had played the lead in two of the earlier Lupino films, Not Wanted and Never Fear. Claire Trevor was just a few years older than Ida Lupino and had experienced something of a similar career. I remember her from Stagecoach (1939), Farewell My Lovely (1944) and Born to Kill (1946). She would have known Lupino at least through shared experiences of working with Bogart, Edward G. Robinson and other leading stars (e.g. on Key Largo (1948)).
Sally Forrest is Florence Farley, an 18 year-old high school graduate practising tennis shots against the wall when she is spotted by Gordon (Robert Clarke, also in Outrage). He has a temporary job at the local country/sports club and invites her to play tennis there. Florence is seriously talented and before long is a local junior champion and over the next couple of years becomes a contender for National Women’s Champion at Forest Hills and then at Wimbledon. Her rise to tennis stardom is orchestrated by her mother (Claire Trevor) in cahoots with the oily Fletcher Locke (Carleton G. Young), an Eastern tennis agent. Both Gordon and Florence’s father Will (Kenneth Patterson, again, also in Outrage) are left struggling in Florence’s wake.
It is when Florence and her mother opt to travel to Europe with backing by Locke through his contacts with hotel chains and other ‘sponsors’ that Gordon, who has proposed to Florence, refuses to follow her. Instead he rails against the sponsorship which threatens her ‘amateur’ status. I was a little surprised by this (and an earlier similar scene on a smaller scale). I remember how tennis, like athletics and rugby always had the important professional v. amateur divide, but I do wonder how American amateurs could afford to travel to London, Paris and Melbourne without some form of sponsorship – presumably through their official federation? The reason why this is a strong element in the film’s plot goes back to John R. Tunis who was a fierce critic of professional sports and the way they were covered by the media. He usually wrote what would now be termed ‘Young Adult’ fiction (his publishers actually pushed him into writing for younger readers) with a strong moral undertow. Many of his books were about baseball and American football but his novel American Girl (1930) and short story Champion’s Choice (1940) were about tennis. By all accounts Tunis was a highly regarded and very well-known writer as well as tennis commentator. It’s unfortunate that the film’s short running time doesn’t allow Tunis’ ideas to be developed in a more organic way. At the end of the film when Florence has ‘repented’ to some extent, she gives an interview about fair play and being a role model to a journalist who is rolling her eyes in disbelief at the fiercely moral line that is being taken.
The short running time is a feature of The Filmmakers’ films. This was mainly because of limited funding, though in the best films it means a lean and supple narrative. Hard, Fast and Beautiful is one of the films funded and distributed by RKO. According to various sources, Howard Hughes offered The Filmakers around $200,000 per picture but did not interfere in the productions. However, this film certainly shows all the signs of a rushed ending and the narrative almost seems to collapse in the final scenes as Florence performs a volte-face and her mother is left to try to understand what has happened. The quandary for Lupino and Young as The Filmmakers is neatly summed up by the marketing campaign devised by RKO exemplified by the poster above. The imagery and the tagline both oversell and distort what the film has to offer – but on the other hand, RKO muscled the film into cinemas and attracted audiences. However, the film ultimately failed because it actually bears little resemblance to the poster’s suggestions. Hughes organised grand openings for the film in various cities – but The Filmakers picked up the expenses bill and this wiped out their share of any profits. The Filmmakers’ films have also suffered from the label of ‘B picture’ attached to them by critics and general commentators. I suspect the tag comes mainly because of the short length and the relatively low-budget. But Hard, Fast and Beautiful is not a ‘B’ in conception or execution. Ida Lupino herself associated The Filmakers with the director-producers she named as ‘Independents’ including Stanley Kramer, Robert Rossen and Louis de Rochemont (see below). Using this term suggests a link between Ida Lupino and later ‘American Independents’ like John Sayles.
The film is photographed by Archie Stout who shot Lupino’s first three pictures but is best known for his work with John Ford and edited by William Ziegler (known for work with Hitchcock). The music is by RKO’s film noir master composer Roy Webb and the two art directors, Albert S. D’Agostino and Jack Okey were responsible for the sets on Out of the Past (1947) – in my view the best noir from the 1940s. This is a list of veteran talent that any ‘A’ film production would be lucky to attract. These were hard-bitten Hollywood pros, some of whom were happy to work with The Filmakers more than once because they admired Ida Lupino’s talent and desire to learn as a director.I think a lot of that industry knowledge is up there on the screen. The tennis matches, mostly filmed in California or at Forest Hills are very well put together. I’m no tennis expert, but Sally Forrest was convincing for me. There are many long shots of the courts with cuts to Forrest serving and returning and she certainly hits the ball ‘hard and fast’. Lupino was well-known for her use of location shooting and for her interest in both neo-realism (she met and admired Roberto Rossellini) and in the American form of ‘semi-documentary’ championed by Louis de Rochemont in which crime and ‘social problem’ pictures were shot on location. Lupino probably also followed the career of Mark Hellinger, the producer for whom she worked on They Drive By Night (1940), High Sierra (1941) and Moontide (1942). In the late 1940s he produced two New York-based films noirs with extensive location shooting, the Jules Dassin directed Brute Force (1947) and The Naked City (1948).
But it is the melodrama which intrigues in Hard, Fast and Beautiful and Lupino must have known instinctively how to direct Forrest and Trevor, having played similar roles herself. In the scene above the mise en scène conveys so clearly the family conflict. Hollywood showed us so many twin beds in married couples’ bedrooms, but I’ve never seen them back to back like this. The divide is very clear and almost doesn’t need dialogue. The film’s script draws on the mother-daughter relationship seen in films like Mildred Pierce (1945) though the roles are reversed to some extent. Mildred has a much stronger story but on the other hand, Ida Lupino and Collier Young present a more realist feel for the situations faced by their characters. Claire Trevor is also a match for Crawford as the mother. I can’t help feeling that if The Filmmakers had had a little more time and a little more money they would have made a fine melodrama.
In the last few weeks I’ve struggled to watch streamed movies on MUBI, mainly because I couldn’t find the time, but also partly because of the films on offer. However, I couldn’t resist the prospect of the 1937 A Star is Born. I’d seen the film many years ago, but possibly in black & white on TV. The early Technicolor print was a welcome surprise. I don’t know if it was MUBI or my TV set but the Academy ratio print kept switching to a cropped 1.78:1 TV image. This was annoying but in the end I simply accepted that it wouldn’t stay in the correct ratio. I’ve noticed this before and it seems to be a streaming problem.
I enjoyed the film immensely but I had forgotten just how many tears a good 1930s melodrama can invoke. Dare I re-watch Barbara Stanwyck in Stella Dallas (1937)? That’s usually the acid test for a Melo. A Star is Born works for me because of the performances of the lead actors. That isn’t to detract from William Wellman’s direction. He was mainly known for his action pictures but here working for David O. Selznick he takes a sharp look at the familiar Hollywood tale about the young woman who leaves North Dakota to find fame and fortune. Wellman contributed to the script alongside Dorothy Parker, her husband Alan Campbell and Robert Carson. I found the studio scenes to be very interesting, illustrating the workings of the system. I suspect that the story of the production of the script would be well worth exploring. Both original story and developed script were Oscar-nominated and the story won. Janet Gaynor gives a remarkable turn as Esther Blodgett who becomes Vicki Lester when she signs a studio contract courtesy of her encounter with ailing star Norman Maine. The irony is that Ms Gaynor had been in Hollywood since the early 1920s, starting aged 16 and when she made A Star is Born she was already an Oscar winner for her three films, including Murnau’s Sunrise, in 1927. All I can say is that I was convinced by both her portrayal of the young girl from North Dakota and, even more so, by her emerging star persona as Vicki Lester. She is ‘natural’, beautiful and captivating whether as Esther, Vicki or ‘Mrs Norman Maine’.
I also like Frederic March who seems to convey strength and vulnerability, solid character and potential danger with ease. March had a long Hollywood career in leading roles without ever quite reaching the top echelon of stardom (by which I mean, his name hasn’t stayed in the public consciousness since the studio period). Outside of film and theatre (where he was also successful) March appears to have been politically OK as well. Perhaps most of all I enjoyed watching Adolphe Menjou in this film. It’s such a shame that Menjou was not only a staunch Republican but also a fierce anti-communist and McCarthyite. But then that’s true of quite a few of the Hollywood actors I admire. That was their talent I guess, to play roles that often belied their own political views. In A Star is Born, Menjou is the remarkably sympathetic small studio boss who goes out of his way to help Vicki. The other standout performances are by May Robson as Esther’s grandmother, a young Andy Devine as the assistant director who encourages Esther and Lionel Stander as everyone’s idea of the hard-bitten studio press secretary who will stop at nothing to paint the studio in its best colours.
A Star is Born has had a complicated history in the US in terms of ownership and rights. Made for Selznick, it was eventually sold to Warner Bros. which produced the first remake in 1954. The film then passed into the Public Domain in the US in 1965, although Warners have retained distribution rights that have covered each of the three subsequent remakes. I’m assuming that the MUBI streaming uses a print based on the original nitrate print that was used for Kino’s Region A Blu-ray. I found the print to be quite muddy and dark in the opening half of the film with few of the uses of primary colours I associate with early Technicolor. The later scenes, especially outdoor scenes seem to have a much greater colour range and more vibrancy.
Perhaps now I’ll dig out my DVD of the 1954 remake before finally getting to see the new version in December if it’s still around.
Widows represents a further step into the mainstream for co-writer and director Steve McQueen. Ironically, given 12 Years a Slave was essentially an art movie, this is likely to be less financially successful than its predecessor. Business Insider attributes this to the November release date; whatever the reason it’s not for the lack of thrills within the film.
Based on Lynda LaPlante’s ’80s TV series the film centres around a heist undertaken, in desperation, by the widows of thieves. It has elements of a number of genres, including the heist movie, political corruption thriller and urban gangster. McQueen overlays a political analysis that is both specific to Chicago (the film’s setting) and, he argues in his Sight & Soundinterview (November), the world. McQueen manages to both revitalise the car chase (the brilliant opening) and use sound in distinctive ways. An example of the latter is where Daniel Kaluuya’s psychopath is listening to Black Panther Alfred Woodfox, on the radio, talking about his 44 years in prison. This brings in the discourse of racial politics and, particularly in one scene, #BlackLivesMatter (not as convincing as a similar scene in The Hate U Give).
Sound is also to the fore when Colin Farrell’s conflicted politician, Jack Mulligan, leaves the Projects to return to his leafy home, barely a minute away. Whilst Mulligan rages on the soundtrack the camera remains on the car’s bonnet observing the shift in wealth of the environment.
It’s a stellar cast: Viola Davis, Michelle Rodriquez, Liam Neeson, as well as the aforementioned Kaluuya and Farrell. Robert Duval plays Mulligan’s dad and leaves a lasting impression as a hate-filled demagogue. The budget, notwithstanding the immense financial success of 12 Years a Slave, was a meagre $42m so it’s obvious that the talent is keen to work with McQueen.
Given the director’s ethnicity I was surprised to see, once or twice, that Viola Davis’ face was less clear than the white actor in the scene. It’s difficult to shoot both clearly, though I imagine digital technology could ‘cure’ this, and it is commonplace to have the black face more undifferentiated than the white. I’d’ve thought McQueen, and his cinematographer Sean Bobbit, would have reversed the power relationship.
However the film is as much about gender as race and McQueen ensures we have no doubt about the evil of toxic masculinity. There’s one moment when Neeson screws up his face and wails about saving himself that is especially noteworthy. Davis portrays her widow as indomitable in the face of her circumstances and Elizabeth Debecki’s transformation of an abused wife to a self-contained woman is entirely convincing.
Unsurprisingly, Widows doesn’t have the power of 12 Years a Slave, the subject matter sees to that, but McQueen confirms himself to be one of the most imaginative directors on the circuit.
Likely Corman’s final film as director, this is adapted from Brian Aldiss’s novel,
“a meditation on the wilful independence of the Frankenstein myth.”
Shot on the then standard format of 35mm it can be enjoyed [if Bradford’s Media Museum is accessible] this coming Wednesday in the quality auditorium of Pictureville.
The film’s story involves a time-travelling scientist, Dr. Joseph Buchanan (John Hurt) travelling back in time to meet, not just Mary Shelley (Bridget Fonda) and her story-telling circle, but her creation Dr. Victor Frankenstein (Raul Julia) and his own creation the ‘Monster’ (Nick Brimble). The film works weird variations with the historical characters and with the fictional ones. And Corman fans will find references from Corman’s large and long cinematic output. The continuity is variable and at times the plotting requires careful attention. However there are bravura sequences filmed with elan and a sense of fun, including laboratory work, a trial and an execution. There are some fine examples of special effects from the period. And the film finally transports us to an arctic winterland that transforms the final chapter of Shelley’s novel.
The film has it share of violence, with severed limbs, mutilated bodies and much blood. It gained an 18 certificate from the BBFC in 1991. The film is in standard widescreen and DeLuxe colour, running only 85 minutes. The locations were in Italy, standing in for Switzerland, and the production crew involved a number of craftspeople from the Italian industry.
It is a rare pleasure now to see classic films in their original format and happily the Museum are using their best screening venue. The print is from the Museum archive and is apparently in good condition. And John Hurt’s voice is always worth the price of admission. The film also ties in with a new event at the Science & Media Museum;
“Introduced by Pippa Oldfield, Head of Programme at Impressions Gallery, to celebrate the launch of the exhibition ‘In Search Of Frankenstein’.”
Frankenstein is one of my favourite stories, as a novel or in the endless retelling on film. The many variations on the creation of the monster are a continuing pleasure in mise en scène.
Narrative implausibilities don’t matter too much in film noir as it is a genre that deals with often grim mental states rather than the ‘real world’. This is particularly true in the films from around the middle of the last century in America when Dr Freud’s ideas had passed, in some form or other, into the mainstream. That’s fortunate for Whirlpool as the way Charles Bickford’s lieutenant conducts his investigation more than beggars belief. Gene Tierney is mixed up in murder having been entangled by Jose Ferrer’s bad guy; Ferrer is brilliant in the role. The narrative allows the husband to question his wife in the presence of the cop, and vice versa, and this highlights the investigation is into a woman’s psyche rather than into crime.
Tierney’s husband (a miscast Richard Conte – he was a great heavy) is a psychiatrist so we can be sure that what ails his wife lurks in childhood. And it is this that makes the film particularly interesting as the psychological villain turns out to be patriarchy: her father and later her husband. There isn’t any ‘reading between the lines’ required to work this out for the film explicitly states this. Many noirs focused on male insecurity, particularly of veterans, and the femme fatales that brought them down. Whirlpool deals with female insecurity and the men that bring her down.
This insecurity manifests itself as an entirely patriarchal creation: the belief that women were weak and easily hysterical. Tierney’s character’s kleptomania also draws on the idea that women mentally were weak consumers.
Preminger restricts his use of chiaroscuro lighting and doesn’t offer expressionist angles but shoots the film efficiently enough. Arthur Miller’s cinematography looks great, as does Tierney even if her range as an actor was limited she does embody the part very well.
After yesterday‘s peculiar mixing of styles I immediately stumbled across another example with this melo-noir. The reasons for the strange combination are easy to trace through the scriptwriters: Sam Fuller’s noir script, good guy brought down by bad woman (who is really good), was rewritten by Helen Deutsch of National Velvet (1944) fame. In its widest sense most films are melodrama as they require a contrived narrative and character types to function as mainstream texts but in this context the melodrama refers to the way, as Slant magazine has it, Deutsch ‘lobotomized’ the noirintentions.
Whilst the enigma of Patricia Knight’s femme fatale is interesting – is she as bad as she appears? – the schmaltzy home environment of the schmuck (Cornel Wilde), complete with ‘cute’ kid brother and smiling blind mother, suffocates the nihilism that John Baragrey’s bad guy struggles to sell (the ending is terrible).
Sirk’s expressionist visual style, that is celebrated in the melodramas that were to follow in the ’50s, is directly wedded to noir‘s visual style, if not the narrative. As can be seen in the publicity photo above, chiaroscuro lighting is present but my overall impression when watching the film was it is not one that relishes the noir visual style. Knight’s femme fatale, however, could be the cousin of Gilda who did go wrong. Sirk seems most interested in the interiors of the home, the key setting for melodrama.
Cornel Wilde has the thankless task of the parole officer who is unbelievably ‘good’. One thing noir movies reeked of was sex but Wilde’s far to anodyne here (not blaming him specifically – could be the script). It’s as if the Production Code had been swallowed when noir movies tended to push it as far as they could.
Apparently Sirk was so disillusioned with Hollywood after making the film he returned to Europe. Fortunately he came back to make some of the greatest Hollywood films of the era.
Here’s a film that’s lovely to look at and which features an ear-worm song cleverly stitched into the score by Alfred Newman. But in some ways it’s the production itself and the stories behind the script which make it a significant film. Let’s take the production first. It was released in August 1955 as one of the early Fox ‘CinemaScope and DeLuxe Color’ films. At this point, ‘Scope prints were still being released in their original 2.55:1 aspect ratio with a separate stereo soundtrack. The film must have looked and sounded fantastic – as long as you were in a big and refurbished Fox theatre. Director Henry King was nearly 70 when the film was released. He was arguably the most reliable director at 20th Century Fox, responsible for major features for nearly the whole of the studio period and completing over 100 films in his long career. King’s forte was literary adaptations but as soon as he finished work on this film, he started on Carousel (1956).
Love Is a Many-Splendored Thing is indeed a literary adaptation of the novel of the same title (but with British spelling) by Han Suyin. It is set in Hong in 1949 as the Chinese Civil War is coming to an end and the Korean War is about to begin. One of the most striking aspects of the production is that much of the film was shot on location in Hong Kong, offering some amazing coverage of the city, its waterfront and the hills above. The shooting of these scenes was the responsibility of Otto Lang who appears to have worked as a 2nd-unit director on several Fox productions. As far as I’m aware Leon Shamroy, like King, a Fox stalwart throughout the studio period, shot the whole film including the Hong Kong and California sequences (and the studio-set material). One of the concerns about early ‘Scope was the suggestion that the need for more light by the anamorphic lens would reduce the depth of field available and that the difficulties of composition would mean a reliance on relatively static medium shots. In this film Shamroy seems to deploy many long shots on the Hong Kong locations and even to some extent in the studio interiors. This is what makes the film so spectacular and a perfect advertisement for what ‘Scope could do. In many scenes he composes using the full width of the screen and includes several charcters in medium long shot (MLS).
The story is relatively simple. Han Suyin is a doctor specialising in paediatric medicine in a Hong Kong hospital. She’s a widow with an extended family in Chungking. She meets and falls in love with Mark Elliott, an American war correspondent. He is married but separated from his wife who lives in Singapore. Mark struggles to get a divorce and Suyin goes back to her family to get their approval for remarriage. With war still in China and coming to Korea, Mark could be sent to cover action at any point. Though they love each other Mark and Suyin know that because she is ‘Eurasian’ (that’s the term used in the film’ for a person with a European and an Asian parent) they are likely to face prejudice whether they are in East or West. Suyin faces prejudice at home in Chungking and in Hong Kong from the racist wife of the hospital’s funder.
The story behind the script is that it is highly auto-biographical. Surprisingly though, Han Suyin (1916-2012) became a supporter of the People’s Republic of China, even though her first husband died in 1947 fighting for the Nationalist Kuomintang. In reality she fell in love with an Australian journalist rather than an American. Presumably she still had some control over the material and it’s interesting to find a Cold War film (with memories of Korea only a few years earlier) in which the Chinese CP is not completely denounced. Suyin’s family in Chungking reming me a little of the household in Springtime in a Small Town (China 1948 and 2002) – much larger, but clearly affluent despite the Civil War. In the hospital in Hong Kong, one of the senior doctors who admires Suyin urges her to return to China and offer her services to the new government. The real Han Suyin did return to China and also later wrote a novel in support of the Chinese-led rebellion against colonial rule in Malaya (she had then married a British officer in Malaya).
The casting decisions on this production will prompt comment today. William Holden plays Mark Elliott and he’s always reliable actor. He seems to have caused a stir in Hong Kong since the fandom that he provoked is a feature of the classic Hong Kong film Comrades: Almost a Love Story (HK 1996) in which Aunt Rosie one of the older female characters claims to have spent the day with Holden in his hotel during the shoot of Love Is a Many-Splendored Thing. The same actor who plays Aunt Rosie (Irene Tsu) supposedly had an uncredited part in William Holden’s other (British) picture made in Hong Kong, The World of Suzie Wong (1961). The controversial casting might now be seen as Jennifer Jones to play Han Suyin. As a bi-racial character I’m not sure how that casting would be seen today. Is it a case of ‘yellow-face’ casting – a Caucasian actor playing a bi-racial character? Chinese actors, including Chinese-American actors were severely under-represented in Studio Hollywood films. Jennifer Jones had form in this regard. In 1946 she starred opposite Gregory Peck and Joseph Cotten in (her husband) David O. Selznick’s Duel in the Sun (popularly known as ‘Lust in the Dust’) in which she played a bi-racial character as a ‘mestiza‘ – with Caucasian and Native-American parents. Jennifer Jones is convincingly made-up and has the poise to carry the costumes as Han Suyin – but of course that in no way detracts from the arguments about how such casting decisions should be undertaken today. Both Jones and Holden are convincing in their roles and Love Is a Many-Splendored Thing is a romance well worth watching.