A Walk in the Spring Rain


1h 40m 1970
A Walk in the Spring Rain

Brief Synopsis

When her husband moves them to a small farming town, a woman falls in love with a married neighbor.

Film Details

MPAA Rating
Genre
Romance
Drama
Adaptation
Release Date
Jan 1970
Premiere Information
Knoxville, Tennessee, opening: 9 Apr 1970
Production Company
Pingree Productions
Distribution Company
Columbia Pictures
Country
United States
Screenplay Information
Based on the novel A Walk in the Spring Rain by Rachel Maddux (New York, 1966).

Technical Specs

Duration
1h 40m
Sound
Mono
Color
Color (Eastmancolor)
Theatrical Aspect Ratio
2.35 : 1

Synopsis

Professor Roger Meredith and his wife, Libby, journey to rural Tennessee, where Roger hopes to spend his sabbatical writing a law text. Arriving on a snowy winter night, the middle-aged couple stops for the key to their rented house at the home of farmer-mechanic Will Cade, Cade's loquacious wife, and their profligate son, Boy. The earthy Will is attracted to the reserved Libby and courts her, offering blunt compliments and a gift of baby goats. The romance, however, is aborted by Will's and Libby's respective progeny. The Merediths' daughter, Ellen, arrives unexpectedly, announcing her acceptance by Harvard Law School and demanding that Libby return to care for grandson Bucky. Shortly after Libby's refusal, she is molested by drunken Boy Cade but rescued by Will, who accidentally kills his son. The disillusioned Merediths return to the city, Libby having abandoned her romantic hopes, Roger his literary ambitions.

Film Details

MPAA Rating
Genre
Romance
Drama
Adaptation
Release Date
Jan 1970
Premiere Information
Knoxville, Tennessee, opening: 9 Apr 1970
Production Company
Pingree Productions
Distribution Company
Columbia Pictures
Country
United States
Screenplay Information
Based on the novel A Walk in the Spring Rain by Rachel Maddux (New York, 1966).

Technical Specs

Duration
1h 40m
Sound
Mono
Color
Color (Eastmancolor)
Theatrical Aspect Ratio
2.35 : 1

Articles

A Walk in the Spring Rain


A Walk in the Spring Rain (1970), based on Rachel Maddux's 1966 novel of the same name, centers around a middle-aged professor's wife (Ingrid Bergman) who moves to an isolated farm while her husband writes a book. There, she is attracted to and has an affair with a local man (Anthony Quinn) and the affair ends in tragedy.

Producer Stirling Silliphant (who also wrote the screenplay) had visited Bergman at her home in Danhomen in 1968 to show her the unfinished script for the film. Bergman, who had complained that there were so few scripts for women her age, liked the story and wanted to work with Anthony Quinn again (they were co-starred in the 1964 film The Visit), so she agreed. The director would be Guy Green, best known as David Lean's cameraman on Oliver Twist (1948) and Great Expectations (1946).

Shot on location in Cades Cove, Great Smoky Mountains National Park, Gatlinburg, and Knoxville, Tennessee, the film's climactic fight scene between Anthony Quinn and his son (played by Tom Fielding) was choreographed by martial arts legend Bruce Lee. Lee, a friend of Silliphant's, was on location from April 16-24, 1969.

Regarding Bergman's co-star Anthony Quinn, the actress wrote in her autobiography, "...Tony and I were very good friends. But that doesn't mean we didn't argue heatedly about various scenes as I always had great difficulty in being diplomatic and didn't think about what I was going to say before I said it. I remember in one scene, the sun was just right, everything was ready to shoot. We did a rehearsal and I turned to Tony and said, "You are not going to play it that way, are you?" Well, he was furious. "Who is directing this movie, anyway, you or Guy?" He went over to Guy Green and said he wanted to get out of the picture. Burt Lancaster was free and he was sure Burt would be happy to do the part with me. He'd had enough of my interfering." With the ideal lighting conditions at stake, Bergman swallowed her pride and went over to the director, saying "I'm sorry. I am so terribly sorry. I shall never ever open my mouth again about how you should play a scene. Let's just go on shooting, because we want this picture in the can." So we made up."

A Walk in the Spring Rain had its premiere in Knoxville, Tennessee, on April 9, 1970 with Bergman and the book's author in attendance. According to Bergman, "I sat next to Rachel Maddux, and all through the film she was saying to me, "What is this?...What happened to the scene when she?...This isn't meant to be here...this is later...Haven't they understood that?"...I didn't know what I could do to help her. The book had been so well written, full of the country and the true feelings of a woman in this situation...and now poor Rachel Maddux had seen her book go down the drain. So she went to the ladies' room and cried. I went after her and tried to comfort her...The film had been a good try. We'd started off with such high hopes. I thought maybe we could do a film with that elusive feeling which Brief Encounter [1945] had. We'd worked hard. We'd done our best and at the end of it we'd made Rachel Maddux cry."

Most critics were also disappointed by A Walk in the Spring Rain. Lawrence J. Quirk wrote in Screen Slant, "[Bergman] is, in fact, better by far than the film itself, for it had been rather indifferently written and produced by Stirling Silliphant and directed by Guy Green with a lack of sharpness and a slackness of approach that fails to take full advantage of the more climactic moments. Indeed, whatever sharpness and romantic power the film possesses can be credited to Miss Bergman, who seems to be dragging the film along with the force of a sleek diesel hitched to a set of toy trolley cars." Howard Thompson in The New York Times called it "a dreary, tedious, unconvincing drama of middle-aged love. [It] should have been a beauty. It's a bore."

Producer: Stirling Silliphant
Director: Guy Green
Screenplay: Stirling Silliphant; Rachel Maddux (novel)
Cinematography: Charles Lang
Music: Elmer Bernstein
Film Editing: Ferris Anderson, Jr.
Cast: Anthony Quinn (Will Cade), Ingrid Bergman (Libby Meredith), Fritz Weaver (Roger Meredith), Katharine Crawford (Ellen Meredith), Tom Fielding (Boy Cade), Virginia Gregg (Ann Cade), Mitchell Silberman (Bucky).
C-98m.

by Lorraine LoBianco

SOURCES:
Bergman, Ingrid & Burgess, Alan Ingrid Bergman: My Story
Campbell, Sid and Lee, Greglon Yimm Remembering the master: Bruce Lee, James Yimm Lee, and the creation of Jeet Kune Do
Quirk, Lawrence J. The Films of Ingrid Bergman
A Walk In The Spring Rain

A Walk in the Spring Rain

A Walk in the Spring Rain (1970), based on Rachel Maddux's 1966 novel of the same name, centers around a middle-aged professor's wife (Ingrid Bergman) who moves to an isolated farm while her husband writes a book. There, she is attracted to and has an affair with a local man (Anthony Quinn) and the affair ends in tragedy. Producer Stirling Silliphant (who also wrote the screenplay) had visited Bergman at her home in Danhomen in 1968 to show her the unfinished script for the film. Bergman, who had complained that there were so few scripts for women her age, liked the story and wanted to work with Anthony Quinn again (they were co-starred in the 1964 film The Visit), so she agreed. The director would be Guy Green, best known as David Lean's cameraman on Oliver Twist (1948) and Great Expectations (1946). Shot on location in Cades Cove, Great Smoky Mountains National Park, Gatlinburg, and Knoxville, Tennessee, the film's climactic fight scene between Anthony Quinn and his son (played by Tom Fielding) was choreographed by martial arts legend Bruce Lee. Lee, a friend of Silliphant's, was on location from April 16-24, 1969. Regarding Bergman's co-star Anthony Quinn, the actress wrote in her autobiography, "...Tony and I were very good friends. But that doesn't mean we didn't argue heatedly about various scenes as I always had great difficulty in being diplomatic and didn't think about what I was going to say before I said it. I remember in one scene, the sun was just right, everything was ready to shoot. We did a rehearsal and I turned to Tony and said, "You are not going to play it that way, are you?" Well, he was furious. "Who is directing this movie, anyway, you or Guy?" He went over to Guy Green and said he wanted to get out of the picture. Burt Lancaster was free and he was sure Burt would be happy to do the part with me. He'd had enough of my interfering." With the ideal lighting conditions at stake, Bergman swallowed her pride and went over to the director, saying "I'm sorry. I am so terribly sorry. I shall never ever open my mouth again about how you should play a scene. Let's just go on shooting, because we want this picture in the can." So we made up." A Walk in the Spring Rain had its premiere in Knoxville, Tennessee, on April 9, 1970 with Bergman and the book's author in attendance. According to Bergman, "I sat next to Rachel Maddux, and all through the film she was saying to me, "What is this?...What happened to the scene when she?...This isn't meant to be here...this is later...Haven't they understood that?"...I didn't know what I could do to help her. The book had been so well written, full of the country and the true feelings of a woman in this situation...and now poor Rachel Maddux had seen her book go down the drain. So she went to the ladies' room and cried. I went after her and tried to comfort her...The film had been a good try. We'd started off with such high hopes. I thought maybe we could do a film with that elusive feeling which Brief Encounter [1945] had. We'd worked hard. We'd done our best and at the end of it we'd made Rachel Maddux cry." Most critics were also disappointed by A Walk in the Spring Rain. Lawrence J. Quirk wrote in Screen Slant, "[Bergman] is, in fact, better by far than the film itself, for it had been rather indifferently written and produced by Stirling Silliphant and directed by Guy Green with a lack of sharpness and a slackness of approach that fails to take full advantage of the more climactic moments. Indeed, whatever sharpness and romantic power the film possesses can be credited to Miss Bergman, who seems to be dragging the film along with the force of a sleek diesel hitched to a set of toy trolley cars." Howard Thompson in The New York Times called it "a dreary, tedious, unconvincing drama of middle-aged love. [It] should have been a beauty. It's a bore." Producer: Stirling Silliphant Director: Guy Green Screenplay: Stirling Silliphant; Rachel Maddux (novel) Cinematography: Charles Lang Music: Elmer Bernstein Film Editing: Ferris Anderson, Jr. Cast: Anthony Quinn (Will Cade), Ingrid Bergman (Libby Meredith), Fritz Weaver (Roger Meredith), Katharine Crawford (Ellen Meredith), Tom Fielding (Boy Cade), Virginia Gregg (Ann Cade), Mitchell Silberman (Bucky). C-98m. by Lorraine LoBianco SOURCES: Bergman, Ingrid & Burgess, Alan Ingrid Bergman: My Story Campbell, Sid and Lee, Greglon Yimm Remembering the master: Bruce Lee, James Yimm Lee, and the creation of Jeet Kune Do Quirk, Lawrence J. The Films of Ingrid Bergman

Guy Green (1913-2005)


Guy Green, an Oscar®-winning cinematographer who did his best work for David Lean in the '40s (Great Expectations, Oliver Twist) and who later developed into a notable film director (A Patch of Blue) died on September 15 in his Beverly Hills home of kidney failure. He was 91.

He was born on November 5, 1913 in Somerset, England. Long fascinated by cinema, he became a film projectionist while still in his teens, and was a clapper boy by age 20. He bacame a camera operator during World War II in such fine war dramas as One of Our Aircraft Is Missing; In Which We Serve (both 1942) and This Happy Breed (1944). His big break came as a director of photography came for Carol Reed's The Way Ahead (1944). He was eventually chosen by David Lean to photograph Great Expectations (1946), and his moody, corrosive look at Dickensian London deservedly earned an Academy Award. His work as a cinematographer for the next few years were justly celebrated. Film after film: Blanche Fury (1947), Oliver Twist (1948), The Passionate Friends (1949), Captain Horatio Hornblower R.N. (1951), The Beggar's Opera (1953), I Am a Camera (1955), all highlighted his gift for cloud-soaked period pieces with sweeping vistas of broad landscapes.

He made his directorial debut in a modest crime drama, River Beat (1954). Some minor titles followed: Portrait of Alison (1955); House of Secrets (1956); the ingenious mystery thriller The Snorkel (1958); the controversial child molestation drama The Mark (1961) starring Stuart Whitman in an Oscar® nominated performance; and his breakthrough picture, The Angry Silence (1960) which starred Richard Attenborough as an outcast who tries to battle labor union corruption. This film earned Green a BAFTA (a British Oscar equivilant) nomination for Best Director and opened the door for him to Hollywood.

Once there, he proceeded to make some pleasant domestic dramas: Light in the Piazza (1962), and Diamond Head (1963), before moving onto what many critics consider his finest work: A Patch of Blue (1965). The film, based on Elizabeth Kata's novel about the interracial love between a blind girl (Elizabeth Hartman) and a black man (Sidney Poitier) despite the protests of her bigoted mother (Shelley Winters), was a critical and commercial hit, and it earned Green a Golden Globe nomination for Best Director.

Strangely, Green would never enjoy a critical success equal to A Patch of Blue again. Despite his talent for sensitive material and handling of actors, Green's next two films: a forgettable Hayley Mills vehicle Pretty Polly (1967); and The Magus simply didn't attract the moviegoers or the film reviewers. He redeemed himself slightly with the mature Anthony Quinn-Ingrid Bergman love story Walk in the Spring Rain (1970); and the historical drama Luther (1973), before he stooped to lurid dreck with Jacqueline Susan's Once Is Not Enough (1975).

Eventually, Green would find solace directing a series of television movies, the best of which was an adaptation of the Arthur Hailey (of Airport fame) novel Strong Medicine (1986) starring Sam Neill and Annette O’Toole. Green is survived by his wife Josephine.

by Michael T. Toole

Guy Green (1913-2005)

Guy Green, an Oscar®-winning cinematographer who did his best work for David Lean in the '40s (Great Expectations, Oliver Twist) and who later developed into a notable film director (A Patch of Blue) died on September 15 in his Beverly Hills home of kidney failure. He was 91. He was born on November 5, 1913 in Somerset, England. Long fascinated by cinema, he became a film projectionist while still in his teens, and was a clapper boy by age 20. He bacame a camera operator during World War II in such fine war dramas as One of Our Aircraft Is Missing; In Which We Serve (both 1942) and This Happy Breed (1944). His big break came as a director of photography came for Carol Reed's The Way Ahead (1944). He was eventually chosen by David Lean to photograph Great Expectations (1946), and his moody, corrosive look at Dickensian London deservedly earned an Academy Award. His work as a cinematographer for the next few years were justly celebrated. Film after film: Blanche Fury (1947), Oliver Twist (1948), The Passionate Friends (1949), Captain Horatio Hornblower R.N. (1951), The Beggar's Opera (1953), I Am a Camera (1955), all highlighted his gift for cloud-soaked period pieces with sweeping vistas of broad landscapes. He made his directorial debut in a modest crime drama, River Beat (1954). Some minor titles followed: Portrait of Alison (1955); House of Secrets (1956); the ingenious mystery thriller The Snorkel (1958); the controversial child molestation drama The Mark (1961) starring Stuart Whitman in an Oscar® nominated performance; and his breakthrough picture, The Angry Silence (1960) which starred Richard Attenborough as an outcast who tries to battle labor union corruption. This film earned Green a BAFTA (a British Oscar equivilant) nomination for Best Director and opened the door for him to Hollywood. Once there, he proceeded to make some pleasant domestic dramas: Light in the Piazza (1962), and Diamond Head (1963), before moving onto what many critics consider his finest work: A Patch of Blue (1965). The film, based on Elizabeth Kata's novel about the interracial love between a blind girl (Elizabeth Hartman) and a black man (Sidney Poitier) despite the protests of her bigoted mother (Shelley Winters), was a critical and commercial hit, and it earned Green a Golden Globe nomination for Best Director. Strangely, Green would never enjoy a critical success equal to A Patch of Blue again. Despite his talent for sensitive material and handling of actors, Green's next two films: a forgettable Hayley Mills vehicle Pretty Polly (1967); and The Magus simply didn't attract the moviegoers or the film reviewers. He redeemed himself slightly with the mature Anthony Quinn-Ingrid Bergman love story Walk in the Spring Rain (1970); and the historical drama Luther (1973), before he stooped to lurid dreck with Jacqueline Susan's Once Is Not Enough (1975). Eventually, Green would find solace directing a series of television movies, the best of which was an adaptation of the Arthur Hailey (of Airport fame) novel Strong Medicine (1986) starring Sam Neill and Annette O’Toole. Green is survived by his wife Josephine. by Michael T. Toole

Quotes

Trivia

'Bruce Lee' was fight choreographer for this film.

Notes

Location scenes filmed in the Great Smoky Mountains National Park.

Miscellaneous Notes

Released in United States April 1970

Released in United States Spring April 1970

Panavision

c Technicolor

8822 feet

rtg BBFC A

rtg MPAA M (original)

rtg MPAA PG

Released in United States April 1970

Released in United States Spring April 1970