Strange Interlude


1h 50m 1932
Strange Interlude

Brief Synopsis

A doctor's daughter defies convention in her fight for love and her child.

Film Details

Genre
Drama
Adaptation
Release Date
Dec 30, 1932
Premiere Information
not available
Production Company
Metro-Goldwyn-Mayer Corp.
Distribution Company
Metro-Goldwyn-Mayer Distributing Corp.
Country
United States
Screenplay Information
Based on the play Strange Interlude by Eugene O'Neill (New York, 30 Jan 1928).

Technical Specs

Duration
1h 50m
Sound
Mono (Western Electric Sound System)
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1
Film Length
12 reels

Synopsis

In a small New England university town, shortly after the World War, writer Charlie Marsden returns home from Europe and visits Nina Leeds, the woman he secretly loves. When he arrives at the Leeds home, Charlie interrupts an argument between Nina and her father, Professor Leeds. Nina is distraught and hysterical over the death of her lover Gordon, who perished in a plane crash during the war, and blames her father for preventing Gordon from marrying her. To atone for Gordon's loss, Nina insists upon going to Boston to work as a nurse in a sanitarium for wounded soldiers. Her father objects, but finally admits that his own jealousy drove him to prevent Nina's marriage, and agrees to let her go. One year later, Nina is called home when her father falls gravely ill. By the time she arrives home, accompanied by her colleague, Dr. Ned Darrell, and Sam Evans, and old friend of Gordon's, her father has died. At the Leeds house, Sam tells Charlie that he has proposed to Nina, and when Charlie questions Ned about Sam, Ned declares that he thinks marriage to Sam would offer salvation to the morbid Nina. When Nina confesses to Charlie that her obsession with Gordon has caused her to be promiscuous with men, Charlie, a weak-willed mama's boy, realizes that Nina needs a strong man and urges her to marry Sam. Hoping that a normal married life with children will restore equilibrium to her life, Nina agrees to the match. Nina's realizes her mistake during their honeymooon, however, when Sam's mother confides in her that insanity runs through the Evans family, making it unthinkable for her to have a baby with Sam. Mrs. Evans tells Nina that Sam knows nothing about the "family curse" and suggests that Nina have a child by another man. Nina soon begins to detest her husband, and when Ned visits, she tells him about the Evans curse and the two decide to conceive a child. During their afternoon together, Nina realizes that she loves Ned, but Ned struggles against her love and the control over his life that it implies. To prevent Nina from telling Sam about their love, Ned announces that Nina is pregnant and that he is leaving for Europe for a year. During Ned's absence, Nina gives birth to a son, whom she names Gordon. No longer able to deny his love for Nina, Ned returns and begs her to run away with him but, Nina, realizing that Sam would be destroyed, proclaims that she is happy with her "three men" and her baby. Mirroring their "silent partnership" in Nina's marriage, Ned and Charlie become silent partners in Sam's business and Sam makes them all wealthy. As Gordon grows to boyhood, he develops a hatred of Ned, who spends most of his time at his biological station in the West Indies. Time passes and Gordon, now an adult, becomes an outstanding college athlete. One day when Ned, Charlie, Nina and Sam assemble to watch Gordon compete in a regatta, Ned announces that he plans to marry his sweetheart, Madeleine. Unwilling to relinquish her son, Nina violently objects and asks Ned to stop the marriage and tell Sam the truth about his paternity. When Ned refuses, a frustrated Nina tells Charlie the truth. Gordon wins the regatta and Sam, overcome with excitement, suffers a fatal heart attack. After the funeral, as Gordon prepares to leave with Madeleine, he and Ned quarrel and Gordon strikes Ned, causing Nina to blurt out that he has struck his own father. Gordon misunderstands, however, and confesses that he always sensed Nina and Ned's love for each other and gives them his blessing. Ned is about to tell Gordon the truth when Nina stops him. After Gordon leaves, Nina tells Ned that their life has not been in vain because they have "saved Sam's soul." Realizing that it is too late for them to find happiness together, Ned departs, leaving Nina with the faithful Charlie.

Film Details

Genre
Drama
Adaptation
Release Date
Dec 30, 1932
Premiere Information
not available
Production Company
Metro-Goldwyn-Mayer Corp.
Distribution Company
Metro-Goldwyn-Mayer Distributing Corp.
Country
United States
Screenplay Information
Based on the play Strange Interlude by Eugene O'Neill (New York, 30 Jan 1928).

Technical Specs

Duration
1h 50m
Sound
Mono (Western Electric Sound System)
Color
Black and White
Theatrical Aspect Ratio
1.37 : 1
Film Length
12 reels

Articles

Strange Interlude


By the early 30's, Norma Shearer was the Queen of MGM, due in part to her marriage to the studio's powerful head of production, Irving Thalberg, but also because of her own talent and drive. The couple was always looking for another prestige vehicle for Norma. In 1928, they had seen the New York production of Eugene O'Neill's play, Strange Interlude, but Thalberg realized it could never be done as a silent film. But before long, talkies had arrived, and the play had won a Pulitzer Prize. Meanwhile, Norma had triumphed in other films based on stage successes, and had won an Academy Award® for her performance in The Divorcee (1930), directed by Robert Z. Leonard. Thalberg bought the rights to Strange Interlude for Norma, and again assigned Leonard to direct.

Strange Interlude (1932) was a commercially risky venture, the story of neurotic Nina Leeds, whose first love is killed in World War I. She copes with her grief by marrying, but her husband's impotence drives her into the arms of a doctor, and she bears his child. The play ran nearly five hours on the stage, following the life of Nina from age 18 into her sixties. The screenwriters were forced to compress the mammoth work into a 110-minute film. O'Neill used an unusual device to express the characters' inner thoughts - he had them pause mid-scene, and speak their thoughts in asides to the audience. It may have worked onstage, but it would never work onscreen. In the film version, the characters' thoughts were spoken in voiceover, and the actors' faces were supposed to telegraph their thoughts. However, the film was made only a few years after the end of the silent era, and many of the actors used silent film acting techniques to telegraph emotions - a method that was already looking dated then, and even more so today.

Still, there are compensations - and surprises. Shearer threw herself into the role, working intensely to catch every nuance of her character's feelings. For one simple scene where she greets her lover in front of her husband, director Leonard was satisfied after the second take. Not Norma - she asked for twenty additional takes before she felt she'd gotten it. The reviews she received were among her best.

To attract mass audiences, the cast for Strange Interlude included not only Shearer, an audience favorite, but handsome newcomer Clark Gable as Doctor Ned Darrell. Gable gave a subdued, but surprisingly effective performance, and working in the film proved to be a big boost for his career. It also provided a look that would become his trademark. As the older Ned, Gable sported a mustache for the first time on film. He liked it, and so did his fans.

Although clumsy at times, Strange Interlude was rightly praised for being Hollywood's first attempt to deal with Freudian material. "For once Hollywood has dared to produce a picture that deals with life in terms of adult intelligence," wrote Alexander Bakshy in The Nation.

Director: Robert Z. Leonard
Producer: Irving Thalberg (uncredited)
Screenplay: Bess Meredyth, C. Gardner Sullivan, based on the play by Eugene O'Neill
Editor: Margaret Booth
Cinematography: Lee Garmes
Art Direction: Cedric Gibbons
Costumes: Adrian
Cast: Norma Shearer (Nina Leeds), Clark Gable (Ned Darrell), Alexander Kirkland (Sam Evans), Ralph Morgan (Charlie Marsden), Robert Young (Gordon), May Robson (Mrs. Evans), Maureen O'Sullivan (Madeleine), Henry B. Walthall (Professor Leeds).
BW-110m. Closed captioning.

by Margarita Landazuri

Strange Interlude

Strange Interlude

By the early 30's, Norma Shearer was the Queen of MGM, due in part to her marriage to the studio's powerful head of production, Irving Thalberg, but also because of her own talent and drive. The couple was always looking for another prestige vehicle for Norma. In 1928, they had seen the New York production of Eugene O'Neill's play, Strange Interlude, but Thalberg realized it could never be done as a silent film. But before long, talkies had arrived, and the play had won a Pulitzer Prize. Meanwhile, Norma had triumphed in other films based on stage successes, and had won an Academy Award® for her performance in The Divorcee (1930), directed by Robert Z. Leonard. Thalberg bought the rights to Strange Interlude for Norma, and again assigned Leonard to direct. Strange Interlude (1932) was a commercially risky venture, the story of neurotic Nina Leeds, whose first love is killed in World War I. She copes with her grief by marrying, but her husband's impotence drives her into the arms of a doctor, and she bears his child. The play ran nearly five hours on the stage, following the life of Nina from age 18 into her sixties. The screenwriters were forced to compress the mammoth work into a 110-minute film. O'Neill used an unusual device to express the characters' inner thoughts - he had them pause mid-scene, and speak their thoughts in asides to the audience. It may have worked onstage, but it would never work onscreen. In the film version, the characters' thoughts were spoken in voiceover, and the actors' faces were supposed to telegraph their thoughts. However, the film was made only a few years after the end of the silent era, and many of the actors used silent film acting techniques to telegraph emotions - a method that was already looking dated then, and even more so today. Still, there are compensations - and surprises. Shearer threw herself into the role, working intensely to catch every nuance of her character's feelings. For one simple scene where she greets her lover in front of her husband, director Leonard was satisfied after the second take. Not Norma - she asked for twenty additional takes before she felt she'd gotten it. The reviews she received were among her best. To attract mass audiences, the cast for Strange Interlude included not only Shearer, an audience favorite, but handsome newcomer Clark Gable as Doctor Ned Darrell. Gable gave a subdued, but surprisingly effective performance, and working in the film proved to be a big boost for his career. It also provided a look that would become his trademark. As the older Ned, Gable sported a mustache for the first time on film. He liked it, and so did his fans. Although clumsy at times, Strange Interlude was rightly praised for being Hollywood's first attempt to deal with Freudian material. "For once Hollywood has dared to produce a picture that deals with life in terms of adult intelligence," wrote Alexander Bakshy in The Nation. Director: Robert Z. Leonard Producer: Irving Thalberg (uncredited) Screenplay: Bess Meredyth, C. Gardner Sullivan, based on the play by Eugene O'Neill Editor: Margaret Booth Cinematography: Lee Garmes Art Direction: Cedric Gibbons Costumes: Adrian Cast: Norma Shearer (Nina Leeds), Clark Gable (Ned Darrell), Alexander Kirkland (Sam Evans), Ralph Morgan (Charlie Marsden), Robert Young (Gordon), May Robson (Mrs. Evans), Maureen O'Sullivan (Madeleine), Henry B. Walthall (Professor Leeds). BW-110m. Closed captioning. by Margarita Landazuri

Quotes

Trivia

This was the first film in which Clark Gable's trademark mustache appeared.

Notes

After the opening credits, a written prologue states: "In order for us fully to understand his characters, Eugene O'Neill allows them to express their thoughts aloud. As in life, these thoughts are quite different from the words that pass their lips." Throughout the film, a voice-over narrative technique is used to express the thoughts of the characters. According to a Hollywood Reporter news item, the film, which was originally bought for Norma Shearer in 1929, became "a headache" to M-G-M because the studio had difficulty in casting and dramatizing the nineteen act, nine character film. An article in the Los Angeles Record in early February 1929 noted that director Clarence Brown had gone to New York to look at some Broadway plays for M-G-M, among them Strange Interlude. The article speculated that Brown was involved in negotiations for the studio to purchase the play, but the extent of Brown's involvement in the planning of the 1932 film has not been ascertained. A production photograph shows cameraman William Daniels on the set of the film, but his participation in the released film is not known. A New York Times article noted that the regatta sequence of the picture was filmed on location at Santa Catalina Island.
       O'Neill's play was parodied by the Marx Bros. in the 1930 Paramount film Animal Crackers (see AFI Catalog of Feature Films, 1921-30; F2.0126). The film was parodied in the 1932 Fox film Me and My Gal, in a scene in which the character played by Spencer Tracy tells the character played by Joan Bennett that he had just seen a film entitled "Strange Inner Tube or something." For the rest of the scene, as the characters speak, their "inner thoughts" are heard in voice-over narration, for comic effect.