edited b~' ~a r-ei a Landy uf Lit=~

T~L~VISI()~

~ Wayne State University Press Detroit Contents

Preface 11

Introduction 13

Copyright©D . 1991 bY W.ayne State University Press I etrozt, Michigan 48202 · All ng. h ts are reserved , No part { th · b k · THE MELODRAMATIC CONTEXT 31 03 02. o 01 zs O~o may be reproduced without fonnal pennission. 5 4 3 2 1. The Evolution of Social Melodrama fohn G. Cawelti 33

~i~ra?' of Congress Cataloging-in-Publication Data 2. The Melodramatic Imagination Peter Brooks 50 m1tahons of life . a read fil edited b M ·. L er on m and television melodrama Y arc1a andy. 3. Tales of Sound and Fury: Observations on the Family Melodrama P· cm.-(Contempora fil d .. Includes b'b]' h' ry man televiSion series) Thomas Elsaesser 68 1 wgrap Ical references alkISBN 0-8143) -2064 -3 ( a lk . paper).-ISBN. 0-8143-2065-1 (pbk . . paper .. II 1. Melodrama in motion pictures. ·3 M l d 2· Melodrama in televis1'on GENRE, STYLE, AND AFFECT 93 · eo rama-History and ·t· · II. Series. en ICism. I. Landy, Marcia, 1931-.

PN1995.9.M45I45 1991 4. Identifications Charles Af{ron 98 791.43'655-dc20 90-34379 5. Russian Formalist Theories of Melodrama Daniel Gerould 118 CIP 6. Ways of Melodrama Raymond Durgnat 135 Manufactured in the United States of America 7. The Family Melodrama Thomas Schatz 148

8. Who Is Without Sin: The Maternal Melodrama in American Film, 1930-1939 Christian Viviani 168

9. The Moral Ecology of Melodrama: The Family Plot and Magnificent Obsession Noel Carroll 183

7 Tales of Sound and Fury 69

films, and notably Written on the Wind, to develop my points. This said, it is difficult to see how references to twenty more movies would make the argument any truer. For better or worse, what I want to say should at this stage be taken to be provocative rather than proven.

Bearing in mind that (whatever one's scruples about an exact definition) everybody has some idea of what is meant by "melodramatic," any discussion of the melodrama as a specific cinematic mode of expression has to start from its antecedents-the novel and certain types of "entertainment" drama-from which scriptwriters and directors have borrowed their models. Tales of Sound and Fury: The first thing one notices is that the media and literary forms which have habitu­ ally embodied melodramatic situations have changed considerably in the course of Observations on the Family Melodrama history, and, further, they differ from country to country; in England, it has mainly been the novel and the literary gothic where melodramatic motifs persistently crop up (though the Victorian s~age, especially in the 1880s and 1890s, knew an unprece­ THOMAS ELSAESSER dented vogue for the melodramas of R. Buchanan and G. R. Sims, plays in which "a footbridge over a torrent breaks under the steps of the villain; a piece of wall comes down to shatter him; a boiler bursts, and blows him to smithereens");1 in France, it is the costume drama and historical novel; in Germany "high" drama and the ballad, as How to Make Stones Weep well as more popular forms like Moritat (street songs); finally, in Italy the opera rather than the novel reached the highest degree of sophistication in the handling of melodra­ matic situations. l' d " Asked about the colour in Written o th w· d P Ie : Almost throughout the pict I d d n e m , Douglas Sirk re- Two currents make up the genealogy. One leads from the late medieval morality o£ giving a harshness to th b' utre udse _eep-focus lenses, which have the effect play, the popular gestes and other forms of oral narrative and drama, like fairy-tales and e o )ec s an a kmd of ]] d h co 1ours. I wanted this to brin t th . . ename e ' ard surface to the folk-songs to their romantic revival and the cult of the pictureseque in Scott, Byron, h' h . II . . g ou e mner VIOlence th f h . w Ic IS a Inside them and can't break thr " ' e energy o t e characters, Heine and Victor Hugo, which has its low-brow echo in barrel-organ songs, music­ better way of describing what this articul ou~h. It_ would be difficult to think of a hall drama, and what in Germany is known as Biinkellied, the latter coming to late mas of the fifties and early SI.xt· p bar movie and mdeed most of the best melodra- literary honours through Brecht in his· songs and musical plays, The Threepenny Opera fil Ies are a out Or f, th t m, style and technique is related t th . or a matter, how closely, in this or Mahagonny. The characteristic features for our present purposes in this tradition are I th' . 1 o erne. n IS artie e I want to pursue an elusive b. . . . not so much the emotional shock-tactics and the blatant playing on the audience's development of what one mi ht ll th su )ect ~~ n:o directiOns: to indicate the known sympathies and antipathies, but rather the non-psychological conception of the artistic forms and in dirrer tg cab e melodramatic Imagination across different dramatis personae, who figure less as autonomous individuals than to transmit the lli en epoc s· second! s· k' k some structural and stylistJ·c con t t ~ y, Ir s remar tempts one to look for action and link the various locales within a total constellation. In this respect, melodra­ s an s m one medi d · . H o ]] ywood family melodrama b tw hl urn unng one particular period (the mas have a myth-making function, insofar as their significance lies in the structure and the cultural and psychological c: tee~ ro~g y 1940 and 1963) and to speculate on articulation of the action, not in any psychologically motivated correspondence with reflected and helped to articulate nNex twhhJICh thh~s :arm of melodrama so manifestly individualised experience. · one e ess t IS IS 't h · · 1 sense, nor a cata[ooue raison , f d . n a Istonca study in any strict Yet, what particularly marks the ballad or the Biinkellied, i.e., narratives accompa­ · "' ne o names an titles f, th d o With my genera] method as II . ' or reasons at have something to nied by music, is that the moral/moralistic pattern which furnishes the primary content we as With the ob · 1· · · . research by unavailability A vwus Imitation Imposed on film (crimes of passion bloodily revenged, murderers driven mad by guilt and drowning . s a consequence I lean rather heavily on half a dozen themselves, villains snatching children from their careless mothers, servants killing their unjust masters) is overlaid not only with a proliferation of"realistic" homey detail, but also "parodied" or relativised by the heavily repetitive verse-form or the mechanical up-and-down rhythms of the barrel organ, to which the voice of the singer adapts itself Thomas Elsaesser, "Tales of Sound a d . . nally publi~~ed in Monogram, no. 4 nl9~~ry. ObservatiOns o_n the Family Melodrama," ori i­ (consciously or not), thereby producing a vocal parallelism that has a distancing or and the Bnbsh Film Institute. ( ), pp. 2-15. Repnnted by permission of the authgor ironic effect, to the extent of often criss-crossing the moral of the story by a "false," i.e., unexpected emphasis. Sirk's most successful German melodrama, Zu Neuen Ufern, 68 70 Thomas Elsaesser Tales of Sound and Fury 71 makes excellent use of the street ballad to bring out the tragic irony in the court-room scene, and the tune which Walter Brennan keeps playing on the harmonica in King tually demanding forms of melodrama.' the element. of interiorisati~n ~nd per­ Vidor's Ruby Gentry works in a very similar way. A variation on this is the use of sonalisation of primarily ideological conflicts, together with the metaphoncal mterpre­ fairgrounds and carousels in films like Some Came Running and Tarnished Angels, or tation of class conflict as sexual exploitation and rape, is important in all subsequent more self-consciously in Hitchcock (Strangers on a Train, Stage Fright) and Welles forms of melodrama, including that of the cinema. (The latter in America, of course, (Lady from Shanghai and The Stranger) to underscore the main action and at the same is a stock theme of novels and movies with a "Southern" setting.) time "ease" the melodramatic impact by providing an ironic parallelism. Sirk uses the motif repeatedly in, for instance, Scandal in Paris and Take Me to Town. What such Paradoxically, the French Revolution failed to produce a new ~orm ~f social drama devices point to is that in the melodrama the rhythm of experience often establishes or tragedy. The Restoration stage (when theatres in Paris were spe.cially I.ICens~d to play itself against its value (moral, intellectual). "melodramas") trivialised the form by using melodramatic plots m exotic settmgs, and providing escapist entertainment with little social relevance. The. plays warmed up the Perhaps the current that leads more directly to the sophisticated family melo­ standard motif of 18th-century French fiction and drama, that of mnocence persecuted drama of the 40's and 50's, though, is derived from the romantic drama which had and virtue rewarded, and the conventions of melodrama functioned in their most its heyday after the French Revolution and subsequently furnished many' of the plots barren form as the mechanics of pure suspense. for operas, but which is itself unthinkable without the 18th-century sentimental What before the Revolution had served to focus on suffering and victimizatio~­ novel an~ the emphasis put on private feelings and interiorised (puritan, pietist) codes the claims of the individual in an absolutist society-was reduced to ground-glass-In­ ~f m~rahty .and c_onscience. Historically, one of the interesting facts about this tradi­ the-porridge, poisoned handkerchiefs and last-minute rescues. fr~m the dunge~n: The tion IS that Its height of popularity seems to coincide (and this remains true through­ sudden reversals of fortune, the intrusion of chance and comc1dence had ongmally out th~ 19th cent~ry) with periods of intense social and ideological crisis. The pre­ pointed to the arbitrary way feudal institutions could ruin the in~ividual unpr?tec~ed revolutionary sentimental novel-Richardson's Clarissa or Rousseau's Nouvelle by civil rights and liberties. The system stood accus.ed. of greed, wilfulness a~d matw­ Heloise, for example-go out of their way to make a case for extreme forms of nality through the Christ-like suffering of the pure v1rgm a~d ~he selfless her01s~ of the behaviour and feeling by depicting very explicitly certain external constraints and right-minded in the midst of court intrigue and callous md1fference. Now, Wit~ the p~essures bearing upon the characters, and by showing up the quasi-totalitarian bourgeoisie triumphant, this form of drama lost its s~bversive ch~rge an? funct~o.ned VI~l~nce perpet~ated by (agents of) the "system" (Lovelace who tries everything, from more as a means of consolidating an as yet weak and mcoherent Ideological position. bnbmg her family to hiring pimps, prostitutes and kidnappers in order to get Clarissa Whereas the prerevolutionary melodramas had often en~ed ~ra~i~ally, thos~ of t~e to bec~me his wife, only to have to rape her after all). The same pattern is to be Restoration had happy endings, they reconciled the suffenng mdlVIdual to h1s social fou~d m the bourgeois .tragedies of Lessing (Emilia Gaiotti, 1768) and the early position, by affirming an "open" society, where everything was possible. Over and over Schiller (Kabale und Lzebe, 1776), both deriving their dramatic force from the again, the victory of the "good" citizen over "evil" aristocrats, lecher? us clergymen and conflict between an extreme and highly individualised form of moral idealism in the .the even more conventional villains drawn from the lumpenproletanat, wa.s re-enacted heroes (again,. non-psy~hological on the level of motivation) and a thoroughly cor­ in sentimental spectacles full of tears and high moral tones. Complex social ~roces.ses rupt ~et se~mmgly ommpotent social class (made up of feudal princes and petty state were simplified either by blaming the evil disposition of individuals or by mamp~latmg functwnanes). The melodramatic elements are clearly visible in the plots, which the plots and engineering coincidences and other dei ex machina, such as the mstant r~vo!ve around family relationships, star-crossed lovers and forced marriages. The conversion of the villain, moved by the plight of his victim, or suddenly struck by villams. (oft~n of noble birth) demonstrate their superior political and economic Divine Grace on the steps of Notre-Dame. . power mvanably by sexual aggression and attempted rape, leaving the heroine no Since the overtly "conformist" strategy of such drama is quite evident, what IS other way than to commit suicide or take poison in the company of her lover. The interesting is certainly not the plot structure, but whether the conventions a.llowed the ideological "message" of these tragedies, as in the case of Clarissa, is transparent: they author to dramatize in his episodes actual contradictions in society and genume clashes record t~e struggle of a morally and emotionally emancipated bourgeois conscious­ of interests in the characters. Already during the Revolution plays such as Manvel's Les ness agamst the remnants of feudalism. They pose the problem in political terms and Victimes cloftrees or Laya's L'Ami des lois, though working with very stereotyped plots, conc~~trate on the complex interplay of ethical principles, religious-metaphysical conveyed quite definite political sympathies (the second, for instance, backed the Girondist moderates in the trial of Louis XIV against the Jacobites) and were under- polanhes and th.e idealist aspirations typical of the bourgeoisie in its militant phase, 2 as t~e prota~omsts come to grief in a maze of economic necessities, realpolitik, stood as such by their public. • famJ!Y loyalties, and through the abuse of aristocratic privilege from a still divinely Even if the form might act to reinforce attitudes of submission, the actual workmg ordamed, and therefore doubly depraved, absolutist authority. out of the scenes could nonetheless present fundamental social evils. Many of the Although these plays and novels, because they use the melodramatic-emotional pieces also flattered popular sympathies by giving the villains the funniest lines, just as plot only as their most rudimentary structure of meaning, belong to the more intellec- Victorian drama playing east of Drury Lane was o~en enlive~ed by . low c?~edy burlesque put on as curtain raisers and by the servants farces dunng the mtermJsswn. 73

72 Thomas Elsaesser Tales of Sound and Fury 1" of the . the fabric of experience, and the appeal to a rea Ity . All this is to say that there seems a radical ambiguity attached to the melodrama, fissures and ruptures m . f dden change reversal and excess lend a symbohc o which the notions o su ' which holds even more for the film melodrama. Depending on whether the emphasis psyc h e-t fell on the odyssey of suffering or the happy ending, on the place and context of rupture plausibiJity. (moral conversion of the villain, unexpected appearance of a benevolent Capuchin . . ue Hu o and Balzac that reflect most closely the monk throwing off his pimp's disguise), that is to say, depending on what dramatic In France tt IS the works_ of S h' l gSue for example, uses the time-worn trap­ mileage was gotoutofthe heroine's perils before the ending(and one only has to think of relation of melodrama to s~cJal upt eava . lodr~ma for an explicitly sensationalist, yet door devices of cloak and agger s lage£me d rendered politically palatable by the Sade's Justine to see what could be done with the theme of innocence unprotected), . r In a popu ar orm an h . melodrama would appear to function either subversively or as escapism--categories committed lourna Jsm. . , d Paris were intended to crusade on sue iSsues which are always relative to the given historical and social context. 3 fictionalized treatment, ~IS ~ysteres e din and slum housing, sanitation, black­ as public heallth, prostitution, _overcrow engt circles opium smoking and gambling. In the cinema, Griffith is a good example. Using identical dramatic devices and . corruption m governm ' h 1" d cinematic techniques, he could, with Intolerance, Way Down East or Broken Blos­ market rae ke teenng, £ £ . tends and his success, bot Jterary an Sue exploited a "reactionary" form or re orlmtls v· to'r Hugo who had learnt as much soms, create, if not exactly subversive, at any rate socially committed melodramas, d h" . ht Twenty years a er !C ' . ' whereas Birth of a Nation or Orphans of the Storm are classic examples of how practical, prove Jrn ~~gked u from NOtre-Dame de Paris, produced with Les M!sera- melodramatic effects can successfully shift explicit political themes onto a personalised from Sue as Sue had pic p l h" h ust stand as the crowning achievement of bles a super-melodrama spectacu ar wf JIC mV: l" from convict and galley slave to plane. In both cases, Griffith tailored ideological conflicts into emotionally loaded . h l The career o ean a Jean, fP . t family situations. the genre m t e nove: 1" h" £ ll and literal emergence from the sewers o ans o factory owner and capita ~st: IS a. . . the 1848 Revolution, is staged with the help The persistence of the melodrama might indicate the ways in which popular become a so~ew~~t unwJllm~sa~~~~~~f discovering their noble birth, inconveni_ent of mistaken identities, orpha d yd h . b dth escapes and rescues, multiple culture has not only taken note of social crises and the fact that the losers are not always f l 1 thought ea mr- rea h those who deserve it most, but has also resolutely refused to understand social change reappearance o peop. e ong d in of ~onsumption or wandering for days throug. in other than private contexts and emotional terms. In this, there is obviously a healthy disguises, long-suffenng f~ma~~~~ y gd t through all this, Hugo expresses a hallucl­ the streets in search of their c I -ani yef, . the emotional demands, in short, the distrust of intellectualisation and abstract social theory-insisting that other structures . . f h . ty the mora con uswn, d 1848 nating VISIOn o t e anxle , d b 1"£ b tw een the time of Waterloo an . of experience (those of suffering, for instance) are more in keeping with reality. But it . f . l hange an ur an I e e w . f has also meant ignorance of the properly social and political dimensions of these metaphysiCS o soc1a c h . ular form subjective expenences o Hugo evidently wanted to bring toget a France's history and he succeeds changes and their causality, and consequently it has encouraged increasingly escapist e~ ~~ po~ crises, while keeping track of the gran. d~~~ds o Is with different s~cial backgrounds, forms of mass entertainment. ll . clueing the ways m !VI ua . l fb . However, this ambivalence about the "structures" of experience, endemic in the singularl y we m repro. . . s and to objective changes in the soc!a a nc levels of awareness and Jmagmatwns, ~e ~ h "t h"fts in mood its different tempi and melodramatic mode, has served artists throughout the 19th century for the depiction of . F th" the melodrama wit I s s I ' h th a variety of themes and social phenomena, while remaining within the popular idiom. of their l!Yes. or Is, . . ll ' uited· Les Miserables, even more so t an e the mixing of stylistic levels, IS idea by :. d" . . n of psychic truth with the hero in Industrialisation, urbanisation and nascent entrepreneurial capitalism have found novels of Dickens, lets through a symd ohiC Jmensw d finally the s~crificed ego of a their most telling literary embodiment in a type of novel clearly indebted to the . ly the i t e superego an turn representmg very near ' melodrama, and the national liberals in Italy during the Risorgimento, for example, saw their political aspirations reflected in Verdi's operas (cf the opening of Visconti's repressed and paranoid society. l d t"c plots to a rather different end. Many Balzac, on the other hand, uses n;e o framall "talist economics. The good/evil Sensa). In England, Dickens, Collins and Reade relied heavily on melodramatic plots l d l "th the dynamics o ear y cap! ft d to sharpen social conflicts and portray an urban environment where chance encoun­ of his nove s ea WI . d nd the Manichean conflicts have shi e away dichotomy has almost dJsappeare ' a d f h logy and economics. What we ters, coincidences, and the side-by-side existence of extreme social and moral contrasts . f l"ty to the para axes o psyc 0 l from questions o mora I f h "11· th uthlessness of industria entrepre- were the natural products of the very conditions of existence-crowded tenement . struggle o t e WI . e r "11 h ld" see is a Sc h openh auenan d "d adent" aristocracy sti o mg houses, narrow streets backing on to the better residential property, and other facts of d b k th pectacle of an uproote ' ec . b urban demography of the time. Dickens in particular uses the element of chance, the neurs an an ~~s, e s dden twists of fortune with no-good parasites ecom- tremendous pohtlcal power, the_su h h eculation and the stock exchange, dream/waking, horror/bliss switches in Oliver Twist or Tale ofTwo Cities partly to feel . . . · ht (or v1ce versa) t roug sp · 11 his way towards a portrayal of existential insecurity and moral anguish which fiction ing rnilhonaJres overmg d c nical artist-intellectuals, the demomc, spe - had previously not encompassed, but also to explore depth-psychological phenomena, the antics of hangers-on, parvenus a~ l y th ntrasts between abysmal poverty and binding potency of money and c~p!ta h' etc~ d the "anarchic" phase of industrial- for which the melodrama-as Freud was later to confirm-has supplied the dynamic d waste which c arac enze 1 d t" unheard -o f affl uence an . db B l as both vital and me o rama !C. motifs and the emotional-pictorial decor. What seems to me important in this form of . . d h" h finance were expenence y a zac melodrama (and one comes across a similar conception in the sophisticated Hollywood Jsatwn an lg h" ' . style than through direct comment. His work reflects t IS more m melodramas) is the emphasis Dickens places on discontinuity, on the evidence of 74 Thomas Elsaesser {Sound and Fury 75 To sum up: these writers understood the melodrama as a form which carried its own values and already embodied its own significant content: it served as the literary equiva­ Tales o . the account which Lilian Ross gives of how lent of a particular, historically and socially conditioned mode ofexperience. Even if the tion of the problem can be fo~nd ~edited John Huston's Red Badge of Courage to Gottfried Reinhard and S ary 'th build-ups and climaxes in the proper order, situations and sentiments defied all categories of versimilitude and were totally unlike . th dramatic~oreh s ape, WI . 5 anything in real life, the structure had a truth and a life of its own, which an artist could give tt a smoo h d wanted to avoid when he shot tt. h·ch is exactly what Huston ~ . t for punctuation, all silent film make part of his material. This meant that those who consciously adopted melodramatic w I h d I n piano accompammen . " It techniques of presentation did not necessarily do so out of incompetence nor always Because it a to re y o F'< l" h w·ves or The Lodger-is "melodramatic. drama-from True Heart Susie to oo ts subtle and yet precise formal Ian­ from a cynical distance, but, by turning a body of techniques into a stylistic principle that tr~mely meant that directors to develop ex! -u montage and camera movement), carried the distinct overtones ofspiritual crisis, they could put the finger on the texture of h~d ~n their social and human material while still being free to shape this material. For there is guage (of lighting, sta~mg, d~c~r, ~~~m~~rc::;s t~'compensate for the expressivenes_s, little doubt that the whole conception oflife in 19th-century Europe and England, and because they w~re del;eratel ~ty o~ ~mic emphasis and tension normally pre.sent m especially the spiritual problems of the age, were often viewed in categories we would range of inflectiOn an. tona ' ; re iace that part of language which is sound, ~trecto_rs the spoken word. Havmg had t p . h' H ks Lang Sternberg achteved m today call melodramatic-one can see this in painting, architecture, the ornamentation . H't h ock Mtzoguc t, aw ' ' . f of gadgets and furniture, the domestic and public mise-en-scene of events and occa­ like Murnau, Renmr, ' c c ' . d t the time) of plasticity in the modulation o their films a high degre_e (well pa ofsky rightly identified as a "dynamisation sions, the oratory in parliament, the tractarian rhetoric from the pulpit as well as the optical planes and spatial massesrecog:ts~ w tc an more private manifestations of religious sentiment. Similarly, the timeless themes that Dostoyevsky brings up again and again in his novels-guilt, redemption, justice, inno­ of space." . ·rv·ty in the deployment of expressive means Among less gifted directors thts senst ' 'd . e it seemed no longer necessary in a cence, freedom-are made specific and historically real not least because he was a great was partly lost with the adv_ent of through their dialogue, and writer of melodramatic scenes and confrontations, and they more than anything else ~:rect:od~'n ~ s~~~iences strictly technical sense-ptctures wohr ed od the more sophisticated pictorial effects define that powerful irrational logic in the motivation and moral outlook of, say, . r f 1 nguage overs a owe · h · 1 the semantic rorce o a h l t lat'n why some maJor tee mea Raskolnikov, Ivan Karamazov or Kirilov. Finally, how different Kafka's novels would be, l I Th' perhaps e ps o exp I h and architectura va ues. IS d d rocus lenses crane and dol y, ave if they did not contain those melodramatic family situations, pushed to the point where h 1 wide screen an eep-r< ' . · bl they reveal a dimension at once comic and tragically absurd-perhaps the existential innovations, sue as co our, f histicated melodrama. Directors (qmte a stzea e undertow of all genuine melodrama. in fact encouraged a new form ~ sopth 30 f Germany and others were clearly f h e dunng e s rom ' . I . proportion o w om cam . . d Max Reinhardt's methods of theatnca mtse- indebted to German expresswmsmdan f . l culture as the masters of silent film h · · 'Jar egree o vtsua en-scene) began s owmg a strut . W lies Losey Ray Minnelli, Cukor. drama· Ophuls, Lubitsch, Sirk, Premmgerl, d e ' . ht,ther~fore be described as a · · de me o rama mtg . Putting Melo' into Drama Considered as an expresstve co ' , h t rt'sed by a dynamic use of spatia I f d f ise-en-scene, c arac e . . . 1 particular form o rama tc m d . . ll tu I or literary ones. Dramatic situations . I . a oppose to mte ec a . d d and mustca categones, . s . I will allow for complex aesthetic patterns: n~ ee , are given an orchestratiOn whtc 1 . . . as a whole (being essentially a . r d t 1 t0 the Amencan cmema I In its dictionary sense, melodrama is a dramatic narrative in orchestration ts run amen a d b . d eal) because it has drawn t 1e which musical accompaniment marks the emotional effects. This is still perhaps the t dramatic cinema, spec acu I·ar, and base onk a roa d moreapp as an additional "me lo d'tc " most useful definition, because it allows melodramatic elements to be seen as constitu­ f h aesthetic consequences o avmg· the spo en. d'wor e Sound whether nmstca. 1 or ents of a system of punctuation, giving expressive colour and chromatic contrast to the t ous semantic tscours · ' I . storyline, by orchestrating the emotional ups and downs of the intrigue. The advantage dimension than as an au onom. . f d th to the moving image, and by he pmg verbal acts first of all to give the t!luswn o ef d' l ue becomes a scenic element, of this approach is that it formulates the problems of melodrama as problems of style and articulation. to cre~te the third dimension of the spfechtac e: . ta osgce' ne Anyone who has ever had d. t1 · 1 means 0 t e mtse-en- · . along with more tree y vtsua d . d bb d into French or German WI Music in melodrama, for example, as a device among others to dramatize a given 11 the bad luck of watching a Hollywhoo mot:''e lur soenance and dramatic continuity. narrative, is subjective, programmatic. But because it is also a form of punctuation in d. f · t t e emo wna e fl know how important tc '.on ts o . II flat and out of sync: it destroys the ow the above sense, it is both functional (i.e., of structural significance) and thematic Dubbing makes the best ptcture seem vtsua y l . b 'It (i.e., belonging to the expressive content) because used to formulate certain moods­ on which the coherence of the employed by direCtors sorrow, violence, dread, suspense, happiness. The syntactic function of music has, as illusioni~t s~ecta?t: ~son~~i~usly That the plasticity of the human votceHts qukt t 'ned Lauren Bacall's voice·so that is well known, survived into the sound film, and the experiments conducted by Banns . d · known· aw s rat for what are often thematic en s ts . d H v Not an effect which Sternberg Eisler and T. W Adorno are highly instructive in this respect. 4 A practical demonstra- . " 1 " r ·n To Have an a e , d . . she could be gtven rna e mes ' If t Marlene Dietrich's diction, an tt ts anticipated when he took great care to cu tva e 77 Thomas Elsaesser a{ Sound and Fury . 76 Tales d d I 'd Thulin go for a ride to Versailles, but when Glenn For an ngn , . h' hard to miss the psychoanalytic significance of Robert Stack's voice in Written on the Four Horsemen, £ t II th whole trajectory of their relatiOns Ip. Wind, sounding as if every word had to be painfully pumped up from the bottom of which in fact tells and ore ets shis efilms in this way: the restlessness of Written on t~e one of his oil-wells. Sirk, too, often co~st~uc'th the fact that he almost always cuts on movement. His If it is true that speech in the American cinema loses some of its semantic impor­ Wind is not unconnec e WI h chapter to themselves: a yellow sports-car tance in favour of its material aspects as sound, then conversely lighting, composition, visual metaphors reaw do~;~te:ay :~est~p in front of a pair of shining ~vhit: Doric decor increase their semantic and syntactic contribution to the aesthetic effect. They drawing up the grave e . . ot only a powerful piece of Amen can Jconog­ become functional and integral elements in the construction of meaning. This is the columns outside the Hadley ~answ~u~ ~n high-angle shot, but the contrary associa­ justification for giving critical importance to the mise-en-scene over intellectual con­ raphy, especial~y when ~aken mda v~l a; r!terials (polished chrome-plate and .stucco tent or story-value. It is also the reason why the domestic melodrama in colour and tions of impenal spl~n our anrres o~1dences and dissimilarities in the same Ima~e, wide screen, as it appeared in the 40's and 50's, is perhaps the most highly elaborated, plaster) create a tensi0~1 of col dcadent affluence and melancholy energy that g.Ive complex mode of cinematic signification that the American cinema has ever pro­ which perfectly crystallize~ as .t 1e ~irk has a peculiarly vivid eye for the contrastmg duced, because of the restricted scope for external action determined by the subject, the film its uncanny fascmahon. . l d he combines them or makes them and because everything, as Sirk said, happens "inside." To the "sublimation" of the emotional qualities of textures an~ ~ate~a \~~y occur in a non-dramatic sequence: action picture and the Busby Berkeley/Lloyd Bacon musical into domestic and family ash to very striking effect, especia yhwf en l f Hadley Sr a black servant is seen Cl ' h w· d fter t e unera 0 ., d ' melodrama corresponded a sublimation of dramatic conflict into decor, colour, gesture again in Wntten on t e m , ~ front ate. A black silk ribbon gets unstuck an IS and composition of frame, which in the best melodramas is perfectly thematised in taking an oleander wreath off t e g th Th camera follows the movement, h · d 1 the concrete pa · e d terms of the characters' emotional and psychological predicaments. blown by t e wm. .a ong · dow wh ere L auren Baca ll , in an oleander-green. ress, For example, when in ordinary language we call something melodramatic, what we dissolves and do 11Jes m on a Wl~ , h rt . The scene has no plot sigmficance often mean is an exaggerated rise-and-fall pattern in human actions and emotional is just about to disappear behmd t e cu ;;ms. reen/green white concrete/white responses, a from-the-sublime-to-the-ridiculous movement, a foreshortening of lived whatsoever. But the colour parallels blac grt:en, lgresonance ln which the contrast of , 'd tremely strong emo wna d' . . time in favour of intensity-all of which produces a graph of much greater fluctuation, lace curtams provi e an ex . . t d the more forcefully as a Isqmehng a quicker swing from one extreme to the other than is considered natural, realistic or in soft silk blown along the hard ~oncr;t~ IS regis ~;:nsfers itself onto the Bacall character, conformity with literary standards of versimilitude: in the novel we like to sip our visual association. The desolaho~ o. t e ~c~ne . d inds us of the futility implied in and the traditional fatalistic association o t e wm rem pleasures, rather than gulp them. But if we look at, say, Minnelli, who has adapted some of his best melodramas (The Cobweb, Some Came Running, Home from the Hill, the movie's title. . hi hl self-conscious stylist, but they are by no These effects, of course, reqmre a g y . 1 ssities political censorship and Two Weeks in Another Town, The Four Horsemen of the Apocalypse) from generally . 11 d Th fact that commercia nece ' . h means rare mHo ywoo · e d' . h t they could tackle as a subJect as extremely long, circumstantially detailed popular novels (by James Jones, Irving Shaw . d t 'cted 1rectors m w a . . et al.), it is easy to see how in the process of having to reduce 7 to 9 hours' reading the various mora IIty co es res n f h t't t d a worthwhile subject, a change m ·rr ess 0 w at cons 1 u e d'd entailed a dmerent awaren I d b fit d perhaps most. Not on1 y I matter to 90-oAll I Desire).6 But in The feeling that there is always more to tell than can be said leads to very consciously t (H'Ida Crane eyon e ' ruefully rememb ere d pas I ' 1 . crete circumstances the more elliptical narratives, proceeding often by visually condensing the characters' motiva­ . . tunity to exp ore m con tion into sequences of images which do not seem to advance the plot. The shot of the Minnelh, It becomes an oppor d d t . . especially as they touch the aes- , l t' 0 f freedom an e ermmJsm, h' If Trevi fountain at the end of a complex scene where Kirk Douglas is making up his I philosoph1ca ques wns h . t onstantly externalising 1mse d · t character w o IS no c . mind in Two Weeks is such a metaphoric condensation, and so is the silent sequence, thetic problem of h ow to epic a. . . . ment ofready-made symbolism. into action, without thereby trappmg him m an environ consisting entirely of what might appear to be merely impressionistic dissolves, in the I I I 78 Thomas Elsaesser Tales o(Sound and Fury 79 Similarly, when Robert Stack shows L B Wind, where everything from fl da~ren acall her hotel suite in Written on the · t to act in a way that could shape the events and influence the emotional environ­ and handbag is provided Sirk :owters Jan hpzctures. on the wall to underwear, nailpolish m~nt let alone change the stifling social milieu. The world is closed, and the charac­ h ' on Y c aractenzes a rich f k t e woman he fancies body and soul th . man wan mg to ta e over :rs a;e acted upon. Melodrama confers on them a negative identity through suffering, is also making a direct comme t ·t:r e oppresszve nature of an unwanted gift. He nd the progressive self-immolation and disillusionment generally ends in resignation: character out of the elements nftohn de Hollydwood stylistic technique that "creates" a emerge as lesser human beings for having become wise and acquiescent to the . 0 e ecor an that prefers act h . ~ey bl an k a facial surface and as !itt! f ' I" . ors w o can provzde as e o a persona zty as poSSJ ble. ways of the world. The difference can be put in another way. In one case, the drama moves towards its Everyone who has at all thought about the Holl d . resolution by having the central conflicts successively externalised and projected into one of its peculiar qualities· that f d" t . ly~oo aesthetic wants to formulate direct action. A jail-break, a bank robbery, a Western chase or cavalry charge, and even " . . . o zrec emotiona Involvement h th II gzvmg resonance to dramatic situatio " "fl h. ' w e er one ca s it a criminal investigation lend themselves to psychologized, thematised representations abstractly, one talks in terms of id t?fis ot~ es mg out the cliche" or whether, more of the heroes' inner dilemmas and frequently appear that way (Walsh's White Heat or th A . en I ca wn patterns empathy d th . . e mencan cinema determin d "t . b . ' an ca ams. Smce They Died with Their Boots On, Losey's The Criminal, Preminger's Where the Side­ spectacular, is essentially dramati e ( as I zs / a~ ~deol~gy of the spectacle and the walk Ends). The same is true of the melodrama in the serie noire tradition, where the the inner self) and not conceptu~l (~ ofpose . t~ ·~neal, I.e., concerned with mood or hero is egged on or blackmailed by the femme fatale-the smell of honeysuckle and and perception) the creaf ea mg wzt I eas and the structures of cognition death in Double Indemnity, Out of the Past or Detour-into a course of action which identify with and recognis~o(:~:threentah~tment o~ ~itua.tions which the spectator can pushes him further and further in one direction, opening a narrowing wedge of equally · I er zs recogmtion zs on the · scwus eve! is another matte ) d d I conscwus or uncon- ineluctable consequences, that usually lead the hero to wishing his own death as the phy (the "visualisation") an~ o~p~ne s ~oa~ arge extent.on the aptness of the iconogra­ ultimate act of liberation, but where the mechanism of fate at least allows him to orchestration for what are trans-ind· .dq I ty (c~mplexzty, subtlety, ambiguity) of the express his existential revolt in strong and strongly anti-social behaviour. ally considered culturally "lowbr ~~) ua ' ~opu ar mythological (and therefore gener­ Not so in the domestic melodrama: the social pressures are such, the frame of this type of cinema depends on ot~e exper~.enc~s :n.d p!ot structures. In other words, respectability so sharply defined that the range of "strong" actions is limited. The lighting, montage, visual rhythm dec:;ys t ~e ~s :~ gzven t~ "drama" by means of tellingly impotent gesture, the social gaffe, the hysterical outburst replaces any more the mise-en-scene translates char~ct . ~ s y ;. o ac mg, muszc-that is, on the ways directly liberating or self-annhilating action, and the cathartic violence of a shoot-out and action into gesture and d ~r m o ac(wn (not unlike the pre-Jamesian novel) or a chase becomes an inner violence, often one which the characters turn against ballet). ynamzc space comparable to 19th-century opera and themselves. The dramatic configuration, the pattern of the plot makes them, regardless This granted, there seems to be a further r bl . of attempts to break free, constantly look inwards, at each other and themselves. The q~estion of melodrama: althou h th ~ o em whiC~ has some bearing on the characters are, so to speak, each others' sole referent, there is no world outside to be possibility of psychic projection :n thee ::~:~~~ues of audzence orient~tion. and the acted on, no reality that could be defined or assumed unambiguously. In Sirk, of a melodrama like Home from the H"/l p S l ~ e ~pectator are as much In evzdence in course, they are locked into a universe of real and metaphoric mirrors, but quite or adventure picture, the differenc~ o~rse~i~ or ~n t~~. Grass as they are in a Western generally, what is typical of this form of melodrama is that the characters' behaviour is action. In the Western especially th g ~n mfz zeu affects the dynamic of the often pathetically at variance with the real objectives they want to achieve. A sequence . . . . , e assumption o "open" s · · II . matic; zt zs mdeed one of the constants which m k pace~ Is vzrtua y axw- of substitute actions creates a kind of vicious circle in which the close nexus of cause largely urban audience Th. b a es the form perenmally attractive to a and effect is somehow broken and-in an often overtly Freudian sense-displaced. po.tential "melodrama" ~hem~s :~~n~::l e~om~s problematic in films that deal with James Dean in East ofEden thinks up a method of cold storage for lettuce, grows beans shzps in The Left-Handed Gun th C . y~~t~a~ons. The complex father-son relation- to sell to the Army, falls in love with Julie Harris, not to make a pile of money and live 73, Bend of the River), the c;nfli~t :;:~rili~ t e;es o~Mann's.We~terns (Winchester happily with a beautiful wife, but in order to win the love of his father and oust his neur's Westerns (Great Day in the Mom. a~ .mot er-fixatwn m some of Tour­ brother-neither of which he achieves. Although very much on the surface of Kazan's country) in Fuller's Run ofth A mg, Wzchzta) or the search for the mother(- film, this is a conjunction of puritan capitalist ethic and psychoanalysis which is . · e rrow seem to find resolution b h h posztively on the changing situations wh d h ecause t e ero can act sufficiently pertinent to the American melodrama to remain exemplary. Raoul Walsh's adventure pictures as p t ereLfn d ~ en they ?resent themselves. In The melodramas of Ray, Sirk or Minnelli do not deal with this displacement-by­ often paradoxical process of self-c~nfirm:~r oy as show~, identity comes in an substitution directly, but by what one might call an intensified symbolisation of every­ direct action while the mom t ond and overreachmg-but always through ' en urn generate by th fl" t h day actions, the heightening of the ordinary gesture and a use of setting and decor so as forward in an unrelentz"ngly lz· e con zc s pus es the protagonists near course to reflect the characters' fetishist fixations. Violent feelings are given vent on "overdeter­ The family melodrama by t t th h d . mined" objects (James Dean kicking his father's portrait as he storms out of the house themes of emotional and dzorat~dn r~~ty' oug ft ealmg largely with the same Oedipal in Rebel Without a Cause), and aggressiveness is worked out by proxy. In such films, en I ' more o en records the failure of the protago- the plots have a quite noticeable propensity to form· a circular pattern, which in Ray 81 so Thomas Elsaesser Tales of Sound and Fury ...... ents of a wider social significance. IndlVldual mitiahve IS p.er- 8 involves an almost geometrical variation of triangle into circle and vice versa, whereas adolescent maiad)u~~m. explicitly political terms (A// the King's Men), after .havmg Sirk (nomen est omen) often suggests in his circles the possibility of a tangent detaching ceived as prob ema ICI m t ically and heroically anti-social, as in the film nozr. The itself-the full-circle construction of Written on the Wind with its linear coda of the reviously been mere y s od 'ddled with obstacles which oppose themselves to P ld ·s more an more n . f b Hudson-Bacall relationship at the end, or even more visually apparent, the circular externa 1 war ..I d are not simply overcome by the hero's assertiOn o a rawny or race around the pylons in Tarnished Angels broken when Dorothy Malone's plane in per~onal. a~bitw;s~:nn's Westerns the madness at the heart of the James Stewart the last image soars past the fatal pylon into an unlimited sky. bramY hbido. I . II b k through an otherwise calm and controlled surface, ly occaswna y rea s . h It is perhaps not too fanciful to suggest that the structural changes from linear character on t ddenly appearing above ground as an m uman subterranean curren su 'bl' I . f externalisation of action to a sublimation of dramatic values into more complex forms ]ike a strong . 11 t thirst for vengeance and primitive BI Ica JUS Ice, of symbolisation, and which I take to be a central characteristic of the melodramatic and yet son:ehow po~tic~ { ~~d to certain old-fashioned cultural and moral values­ tradition in the American cinema, can be followed through on a more general level whe.re ~he wiiHo surv~ve IS e~~. In the films of Sirk, an uncompromising fundamentally where it reflects a change in the history of dramatic forms and the articulation of of dignity, honou~ an r~~l turned away from simple, direct fulfillment by the emer­ energy in the American cinema as a whole. innocent energy IS grad y f 'It d responsibility or the awareness of moral · ce a sense o gUI an ' z As I have tried to show in an earlier article (Monogram, no. l), one of the typical gence of a conscien , . Ob . S 'gn of the Pagan All That Heaven AI ows . · Magm{lcent sesswn, l ' 1 features of the classical Hollywood movie has been that the hero was defined dynami­ complexity, as Ill h h' h . s· k is always interpreted in terms of cu 1tura and even t erne w IC m If cally, as the centre of a continuous movement, often both from sequence to sequence Interlude-a as well as within the individual shot. It is a fact of perception that in order to get its decadence. bearing, the eye adjusts almost automatically to whatever moves, and movement, together with sound, completes the realistic illusion. It was on the basis of sheer physical movement, for example, that the musicals of the 30's (Lloyd Bacon's 42nd Street being perhaps the most spectacular example), the gangster movie and the B­ Where Freud Left His Marx in thriller of the 40's and early 50's could subsist with the flimsiest of plots, an almost total the American Home absence of individual characterisation and rarely any big stars. These deficiencies were made up by focusing to the point of exaggeration on the drive, the obsession, the idee There can be little doubt that the postwar popularity of the fam.ily fixe, that is to say, by a concentration on the purely kinetic-mechanical elements of human motivation. The pattern is most evident in the gangster genre, where the melodrama in Hollyw?o.d is partly cfnnetcted ~~~e t~~ef~~!st~~: ~~~~~:y~~i~~~~:~~~ single-minded pursuit of money and power is followed by the equally single-minded discovered Freud. This IS not the _P ac~· oh a~.a theories found their most enthusiastic should have become the counthry mbw IC IS h deci'si've influence on American and peremptory pursuit of physical survival, ending in the hero's apotheosis through . h hy t ey ecame sue a violent death. This curve of rise and fall-a wholly stylised and external pattern which receptwn. anyw ere, or V: . elodrama are as complex as they are culture, but the connectwns of F;eud with 1m . that Hollywood tackled Freudian takes on a moral significance--can be seen in movies like Undenvorld, Little Caesar, 0 The Roaring Twenties, Legs Diamond and depends essentially on narrative pace, ~:e~:!ai~: p~~i::~:;~s~~~:m~~!lc" ~r ~~~~~ :~i;~, through a cycle of ~ovi~s ~;c~~~~ though it permits interesting variations and complexities, as in Fuller's Underworld rated possibly by Hitchcock's USA. A sophisticated director, such as Hawks, has used speed of delivery and the first;~ A~erica~.succes~;sR;:~~r:· .~:~~~~~;:obvious anism to the Crawford-Stanwyc - avis type w:me found its apotheosis pulsating energy of action to comic effect (Scarface, 20th Century) and has even d applied it to films whose dramatic structure did not naturally demand such a treatment reasons beca~e a mJajohr st~dio co~~.:r~i~~:in:o~ ~~~ y~~:~ya(to the front, that is), 0 (notably His Girl Friday). In fact, Hawks's reputed stoicism is itself a dramaturgical in such movies as n rom we . · · f ation of female Hitchcock infused his film, and. several With rever- device, whereby sentimentality and cynicism are played so close· together and played so other~, ana~~:{~~~~:asochistic fast that the result is an emotional hot-cold shower which is apt to numb the spectator's ~rigidity ~roducing str~g~ ~:S~a~:s ~~~~~~c~~~~h:ar~~e of the sadistic murder~r. This 1 sensibility into feeling a sustained moral charge, where there is more often simply a 1es and mghtmares, W ~ d . h . s of displacement and transfer IS trans- very skilled switchboard manipulation of the same basic voltage. (I am thinking espe­ cially of films like Only Angels Have Wings). r::r:~~: ~f ~~~~~ :~~~e~ o!:e~~;s::eft:;~~o:~~:l:r:;~~i:;~t ~~~~:t~; ~:~ This unrelenting internal combustion engine of physical and psychic energy, generi­ ambiguity and suspens d d . on her Hitchcock's Notorious and Suspz­ husband really does have mur erousk e~Ig~s [' ht .Sirk's Sleep My Love Tourneur's cally exemplified by the hard-boiled, crackling aggressiveness of the screwball comedy, 1 but which Walsh diagnosed in his Cagney heroes as psychotic (White Heat) and a ~:~:ri~i~;;~;;;o~~~;~~~~:~r~~.e~~~d t~: ~Ro~r ~1~ b;J~ng in ~~ist~:ti:~h.a~~:~ vehicle for extreme redneck republicanism (A Lion in the Streets), shows signs of a . ' Wh. l l d . a wider sense enozr s vvoman definite slowing-down in the 50's and early 60's, where raucous vitality and instinctual Premmger s zr P?o: a~ m I th h' h number of European emigres entrusted strikes one about this hst IS not on Y e Ig "lust for life" is deepened psychologically to intimate neuroses and adolescent or not so 83 82 Thomas Elsaesser s o( Sound and Fury . Tale . tro hie collision of counterrunning sentiments, but a with such projects, but that virtually all of the major directors of family melodramas lot build up to an evidently catas P.ble effect from the clash when it does come. In 9 (except Ray) in the 50's had a (usually not entirely successful) crack at the Freudian ~tring of delays r~ th~ ~~eea~;~~~f~l Lana Turner plays an alcoholic actress. wh~~as feminist melodrama in the 40's. Minnelli's Th~, a anducer Kirk Douglas giving her a new start in t~e movJes. ~r More challenging, and difficult to prove, is the speculation that certain stylistic and been "rescued by pro . h If-confident for the first time m years, and m . R hed wit success, se r II . I she structural features of the sophisticated melodrama may involve principles of sym­ the premier, ~s I b f 'th Douglas with whom she has Ia en m ove, bolisation and coding which Freud conceptualised in his analysis of dreams and later hapPY anticipatmg of ce; r~t~ng ~ttle of cha~pagne. However, we already know that also applied in his Psychopathology of Everyday Life. I am thinking less of the preva­ rives to his home arme :VI a d. h ("I need an actress not a wife," he later tells d , t' Ily mtereste m er ' t lence of what Freud called Sym{Jtomhandlungen or Fehlhandlungen, that is, slips of Douglas isn t em~ wna . with a "broad" in his bedroom. Lana Turner, suspe~ - the tongue or other projections of inner states into interpretable overt behaviour. This her) and is sp~ndmg th~ e:e~:~~t the foot of the stairs, and she, at first too engrossed m is a way of symbolising and signalling attitudes common to the American cinema in ing nothing, J.s met by ol ~ . collapses when the other woman sudden!!' appears ~t virtually every genre. However, there is a certain refinement in the melodrama-it herself to notJce ~o\: coo ~~::s dressing gown. Her nervous breakdown m the car IS becomes part of the composition of the frame, more subliminally and unobtrusively the top of the sta!fS m Doug. . t h . dscreen like a barrage of foot-lights and by headlights Rashmg agams er wm transmitted to the spectator. When Minnelli's characters find themselves in an emo­ conveye d tionally precarious or contradictory situation, it often affects the "balance" of the visual arc-lamps. . . d then bringing them sud~nly down with a t~ump composition-wine glasses, a piece of china or a trayful of drinks emphasize the This letting the emotwns nse .and' t' u'Jty and a similar vertiginous drop m the f dramatic Jscon m , ' . · bl is an extreme examp Ie o d melodramas-almost mvana y fragility of their situation-e.g., Judy Garland over breakfast in The Clock, Richard tuates a goo many . motional temperature punc f t . 10 In one of the most paroxysmic Widmark in The Cobweb explaining himself to Gloria Grahame, or Gregory Peck e · h f ] xis o a s a!fcase. layed out agamst t e ver Jca a . . h k n Sirk has Dorothy Malone trying to make his girlfriend see why he married someone else in Designing Women. P h t th Amencan cmema as now ' . When Robert Stack in Written on the Wind, standing by the window he has just montage sequences t a e h l'ke some doomed goddess from a Dwny- opened to get some fresh air into an extremely heavy family atmosphere, hears of in Written on the Wind dance on Iler ~wn, I the stairs and dying from a heart-attack. Lauren Bacall expecting a baby, his misery becomes eloquent by the way he squeezes sian mystery, while her ~ather is co a?sm~ o~e brush-off from Lana Turner as they are Again in Imitation o{Lzfe, John GavmDge.s B b Stanwyck has to disappoint her himself into the frame of the half-open window, every word his wife says to him ' · d · All I eszre ar ara bringing torment to his lacerated soul and racked body. going down the staJrs, an m v k t b me an actress after the girl has been k. h to New 1or o eco ' . . Along similar lines, I have in mind the kind of "condensation" of motivation into daughter about not ta mg er d R 's use of the staircase for SJIDI 1ar rushing downstairs to tell her father the goo news]. ~y Bigger than Life, but to give an metaphoric images or sequences of images mentioned earlier, the relation that exists in · II k own and most spectacu ar m . Freudian dream-work between manifest dream material and latent dream content. Just emotional e f£ects IS we . n Kin I'd like to quote a scene from Margze, a example from another director, ~enr]y]'' Mg, t M . St Louis where the heroine, as in dreams certain gestures and incidents mean something by their structure and · h ] ] Mmne 1 s ee e m · ' sequence, rather than by what they literally represent, the melodrama often works, as I film followmg rat er c ose y d f . b II b a blind date (whom we know have tried to show, by a displaced emphasis, by substitute acts, by parallel situations and Jeanne Crain, about to be taken to th~ gr~ ua ~~~cl:d st~ady has caught a cold, comes metaphoric connections. In dreams one tends to "use" as dream material incidents and to be her father) since her poetry-lovmgh ehspec th t the French master on whom she h b d om when s e ears a ' . h d circumstances from one's waking experience during the previous day, in order to "code" tearing down f rom er e ro . ll . th bouquet of flowers out of h1s an s has a crush, has dropped in. She vJrtua y npbs e t he has to explain that he is them, while nevertheless keeping a kind of emotional logic going, and even condensing d b · With some em arrassmen , . their images into what, during the dream at least, seems an inevitable sequence. Melo­ and is overw h e Ime y JOY· ll h t h ly came to return her papers, and Margie, dramas often use middle-class American society, its iconography and the family experi­ taking somebody else to the b~ ' .t a 'etho\ has just enough time to get back mortified, humiliated and cnngmg WI s ame, ence in just this way as their manifest "material," but "displace" it into quite different t patterns, juxtaposing stereotyped situations in strange configurations, provoking clashes upstairs before she dissolves in tears. t d r the visual orchestration of While this may not sound terribly pro oun on Pt.ape l' ef£ects and the strategy of and ruptures which not only open up new associations but also redistribute the emo­ I ather strong emo wna . such a scene can pro d uce some rh I 't th re abruptly is a form of dramatic tional energies which suspense and tensions have accumulated, in disturbingly different . ]' as to t rott e I e mo f. buildmg up to a c Jmax so h . t tly criticised the streak o mcur- directions. American movies, for example, often manipulate very shrewdly situations of . h H 11 d d'rectors ave cons1s en . . extreme embarrassment (a blocking of emotional energy) and acts or gestures of violence reversal by whJc o ywoo I. l' . th A erJ'can psyche first by showmg Jt to . 1 d f a! 1dea 1sm m e m ' d h (direct or indirect release) in order to create patterns of aesthetic significance which only I ably naiVe mora an emo JOn k' d f 'II sian and self-delusion, an t en be often indistinguishable from the grossest m d~ I u d ntradictory The emotional a musical vocabulary might be able to describe accurately, and for which a psychologist · h 't · most woun mg an co · or anthropologist might offer some explanation. by forcing a confrontatwn w en I IS h h l an inherent dialectic, and the d ff · h a way t at t ey revea . . One of the principles involved is that of continuity and discontinuity (what Sirk has extremes are p Iaye o m sue . d . th' . gly so vulnerable sentimentality IS undeniable psychic energy contame m iS seemm called the "rhythm of the plot"). A typical situation in American melodramas has the I ~

Ir 85 84 Thomas Elsaesser Sound and Fury 0 { Tales d db " anin "and interpret- ld ems totally predetermined and perva e y me g utilised to furnish its own antidote, to bring home the discontinuities in the structures where the wor se . . of emotional experience which give a kind of realism and toughness rare if not unthink­ able signs. rrent feature, already touched on, that of deme foc~smg able in the European cinema. This marks .another r~cu The mechanisms of displacement and transfer, m an on the unobtainable obJect. h' hi dynamic yet discontinuous cycle of non­ enclosed field of pre~sure,t' op~; acre~e/ a universe of powerfully emotional but What makes these discontinuities in the melodrama so effective is that they occur, fulfilment, where di~con mui y I d violence the strong action, the dynamic as it were, under pressure. Although the kinetics of the American cinema are generally obliquelY related fixati~ns. ~n me do hramfla, h d-out ~motions-so characteristic of the full articulatiOn an t e es e . d h directed towards creating pressure and manipulating it (as suspense, for example), the movement, th e h . of the characters' alienation, an t us serve . . a-become t e very signs . melodrama presents in some ways a special case. In the Western or the thriller, Amen can cmem . . . f the ideology that supports It. suspense is generated by the linear organisation of the plot and the action, together to formulate a devastatmg cntiqu~ o I d' t rs in this respect not least because they with the kind of"pressure" which the spectator brings to the film by way of anticipation Minnelli and Sirk are exceptwnt~ Ire~ ocharacters all tied up in a single configura- . · h f, r five or some 1mes SIX . f and a priori expectations of what he hopes to see; melodrama, however, has to accom­ handle stones Wit ou ' h t' phasis and an independent pomt o . ach of them an even t ema IC em . . f h modate the later type of pressure, as already indicated, in what amounts to a relatively tion, and yet giVe e . I " . ]"gift and a very sensitive awareness o t e "closed" world. 'ew Such skill involves a particu ar music~ t I'al and the structural implications Vl · · 1 t · din contrasting rna er . d This is emphasized by the function of the decor and the symbolisation of objects; harmonising potentia con .a me F'l I'k H me 'rom the Hill The Cobweb, Tarmshe the setting of the family melodrama almost by definition is the middle-class home, of dllleren·a: t c h arac ters'motives. Ims. I e o" b' '' t' " films '.smce t h ey d o no thave a · th W' d stnke one as 0 JeC !Ve ' filled with objects, which in a film like Philip Dunne's Hilda Crane, typical of the Angels or Wntten on e m b 't t' al pull towards one of the protago- h th re may e a grav1 a wn . genre in this respect, surround the heroine in a hierarchy of apparent order that central hero (even th oug e . I b ch ofthe characters' predicaments becomes increasingly suffocating. From father's armchair in the living room and nists) and nonetheless they cohere, mam heca~ie ea of the others. The films are built mother's knitting to the upstairs bedroom, where after five years' absence dolls and is made plausible in term~ ~ha:. relat~ t~r:c~!r:~ te:~ns and articulated parts, and the teddies are still neatly arra·nged on the bedspread, home not only overwhelms Hilda architecturally, by a com ma IOn o s . 't ere when with the final coda of with images of parental oppression and a repressed past (which indirectly provoke her overall design appe~rs o~ly retr~specti~el~ a;p~c~tor 'can stand back and look at the explosive outbursts that sustain the action), it also brings out the characteristic attempt appeasement the edifice IS comp ~te han M' e ]]' ovies also a wholly "subjective" · ·ally m t e mne 1 m • of the bourgeois household to make time stand still, immobilise life and fix forever pattern. But t h ere IS, especi I I organised around a central theme . Th fil (b a use the parts are so c ose y h' h . domestic property relations as the model of social life and a bulwark against the more dimensiOn. e ms ec t' f m a single consciousness, w IC IS disturbing sides in human nature. The theme has a particular poignancy in the many or dilemma) ca~ b~ int~rpreted a.s ~::~~:gva:~ous options and possibilities flowing films about the victimisation and enforced passivity of women-women waiting at testing or expenencmg m dramatic . t' I t diction In The Cobweb John Kerr home, standing by the window, caught in a world of objects into which they are from an initially outlined moral or e~s~n ~~ hcon ra frame~ork in which such freedom expected to invest their feelings. Since You Went Away has a telling sequence in which wants both total self-expression an~ a e. neH um:n the Hill wants to assume adult . f I d G Hamilton m orne ,rom . ]' d. Claudette Colbert, having just taken her husband to the troop train at the station, is meamng u ' an eorge . h . t th standards of adulthood Imp Ie m returns home to clear up after the morning's rush. Everything she looks at or touches, responsibilities whi~e at the sa~ e. time ~:e\:~:r t~e drama ends with a "Freudian" dressing gown, pipe, wedding picture, breakfast cup, slippers, shaving brush, the dog, his father's aggresSIVe mascuh~I~. Indt h point when he has resigned himself . f h th b 'ngehmmate att every . h reminds her of her husband, until she cannot bear the strain and falls on her bed resolution o t e f:a er ei d . d b "Biblical" one wh1ch f uses t e b t this is un erpmne Y a . sobbing. The banality of the objects combined with the repressed anxieties and emo­ to his loss of supremacy, u b h blessing his first-born The mterweav- tions force a contrast that makes the scene almost epitomise the relation of decor to mythology of Cain and Abel with tha}ofA Ira] amd ontrasts Set in the.South, the story characters in melodrama: the more the setting fills with objects to which the plot gives ing of motifs is achi.eved by a series o .~a:o e ~~~ ~is tough father, played by Robe~t symbolic significance, the more the characters are enclosed in seemingly ineluctable concerns the relations of a mother . y b t d son (George Peppard) that she wont situations. Pressure is generated by things crowding in on them, life becomes increas­ Mitchum, whose wife so resents his havmg ah as arh all the possible permutations of the . h h' · Th plot progresses t roug d . ingly complicated because cluttered with obstacles and objects that invade their person­ sleep w1t 1m agam. e 't' George Hamilton/hypochon nac alities, take them over, stand for them, become more real than the human relations or basic situation: lawful son/natural hsoRn,bsetnMsi ~tvehum both boys fancy the same girl, P ard!toug o er I c ' . h emotions they were intended to symbolise. mother, toug h G eorge epp d . h girl's father turns nasty agamst t e . h nt Peppar marnes er, h I t It is again an instance of Hollywood stylistic devices supporting the themes, or Hamilton gets er pregna ' . life of his father, etc. However, because t e p o commenting on each other. Melodrama is iconographically fixed by the claustro­ lawful son because of the notonous sex-. th theme of fathers and sons, blood ties . d · f irror-reflectwns on e · · phobic atmosphere of the bourgeois home and/or the small-town setting, its emotional IS structure as a senes o m fil . hoanalytical portrait of the sensitive · · M' IIi's m IS a psyc . pattern is that of panic and latent hysteria, reinforced stylistically by a complex han­ and natural a ffi mhes, mne . 'd I . I d social context. The boy's consciOus- dling of space in interiors (Sirk, Ray and Losey particularly excel in this) to the point adolescent-but placed in a defimte I eo ogica an 87 86 Thomas Elsaesser .. Tales a( Sound and Fury s ofWine and Roses). Although alcoholism is too common an emblem in Day ness, we realise, is made up of what are external forces and circumstances his dilemm Crane, d too typical of middle-class America to deserve a c1 ose th emahc· ana Iys1s, · the result of his social position as heir to his father's estate, unwanted thoughtt: fi ms an , , . , d . . 'fi , d I d beca~se drinkI does become interesting m mov1es w~ere 1ts ynam1c s1gm cance IS eve ope be und.eser~ed, and an upbringing deliberately exploited by his mother in order to get d 't qualities as a visual metaphor recogmsed: wherever characters are seen swallo~v­ e:en w1th h1s father, whose own position as a Texan land-owner and local big-shot forces ~n 1 sd ulping their drinks as if they were swallowing their humiliations along w1th h1m to compensate for his wife's frigidity by proving his virility with other women. mg an g d . d h · r'de vitality and the life force have become palpably estruchve, an a p oney Melodrama h.ere .becomes t~e vehi~le for diagnosing a single individual in ideological 1 !'b'dtelfPh has turned• into real anxiety. Written on the Wmd· IS· per h aps t h e mov1e'h t at mos t terms and objective categones, while the blow-by-blow emotional drama creates the ~o~s~tently builds on the metaphoric possibilities of .alcohol (liquidity, potency, the secon~ level, where the subjective aspect (the immediate and necessarily unreflected . hape of bottles). Not only is its theme an emotwnal drought that no amount of expenence of .the cha.racters) is left intact. The hero's identity, on the other hand, p aII JC s d I . . t 't alcohol,h oil pumped by the derricks, or petrol in fast cars an p an~s can m1h~a e, I emerges as a kmd of picture-puzzle from the various pieces of dramatic action. 1 h s Robert Stack compensate for his sexual impotence and childhood gmlt feel­ H~me from the Hill is also a perfect example of the principle of substitute acts :n; b; hugging a bottle of raw corn every time he feels suicidal, which he p.roceed~ to men which is Hollywood's way of portraying the dynamics of alienation: hone~ earlie~, h in disgust against the paternal mansion. In one scene, Stack IS makmg The story IS s.ustamed by pres~ure that is applied indirectly, and by desires that always smas I h d' . fh' '£ d unmistakeable gestures with an empty Martini bott e in t e uechon o . IS WI e, an chase unattamable goals: M1tchum forces George Hamilton to "become a man" an unconsummated relationship is visually underscored when two bnmful glass·~S thou~h he is temperamentally his mother's son, while Mitchum's "real" son in terms remain untouched on the table, as Dorothy Malone does her best to seduc~ an of att1tude~ an~ character is George Peppard, whom he cannot acknowledge for social unresponsive Rock Hudson at the family party, having previously poured her wh1skey reasons. L1kewJse, Eleanor Parker puts pressure on her son in order to get at Mitchum and Everett Sloane (the girl's father) takes out on George Hamilton the sexual hatred into the flower vase of her rival, Lauren Bacall. . . Melodrama is often used to describe tragedy that doesn't qmte come off: either he fee~s against Mitchum. Finally, after his daughter has become pregnant he goes to because the characters think of themselves too self-consciously as tragic or because see M1tchum t~ put pressure on him to get his son to marry the girl, only to break the predicament is too evidently fabricated ~~ the level ~f ~.lot and. dramaturgy t.o do':'n ':hen M1tchum turns the tables and accuses him of blackmail. It is a pattern carry the kind of conviction normally termed mner neceSSity. Now, m so~e Am:n- wh1ch m an even purer form appears in Written on the Wind. Dorothy Malone wants an family melodramas the inadequacy of the characters' responses to theu predJca­ Rock Hudson who wants Lauren Bacall who wants Robert Stack who just wants to die. ~ent becomes itself part of the subject. In Cukor's The Chapman Report and ~a r~nde .d The point is that the melodramatic dynamism of these l'americaine. Minnelli's The Cobweb-two movies explicitly concerned with the impact of Freud­ ~Jtuatwns IS used by both Sirk and Minnelli to make the emotional impact "carry over" ian notions on American society-the protagonists' self-u~derstan~ing as well ~s the mto the very subdued, apparently neutral, sequences of images that so often round off doctors' attempts at analysis and therapy are shown to be e1ther trag!Cal~y comically a scene and which thereby have a strong lyrical quality. o: inadequate to the situations that the characters ilre sup~osed to cop.e w1t~ m everyday One o~ the characteristic features of melodramas in general is that they concentrate life. Pocket-size tragic heroes and heroines, they are blindly grapplmg w1th a fate re~I ~n the pomt of view of the victim: what makes the films mentioned above exceptional enough to cause intense human anguish, which as the spectator can see, however,. IS IS .t~e way they manage to present all the characters convincingly as victims. The compounded by social prejudice, ignorance, insensitivi~ on top of the ~ogus cla1m cn.hque:-the questions of "evil," of responsibility-is firmly placed on a social and to scientific objectivity by the doctors. Claire Blooms nymphomama and Jan.e ~XJ~te.nhal .level, away from the arbitrary and finally obtuse logic of private motives and Fonda's frigidity in the Cukor movie are seen to b~ two diff~rent bu~ equally hysten­ mdJvJduahsed psychology. This is why the melodrama, at its most accomplished, cal reactions to the heavy ideological pressures wh1ch Amencan soc1ety exerts on the s:ems capable. of reproducing more directly than other genres the patterns of domina­ relations between the sexes. The Chapman Report, despite having apparently bee~ han and ex~lmtation existing in a given society, especially the relation between psychol­ cut by Darryl F. Zanuck Jr., remains an extremely important. film partly ~ecause 1t ogy, .morality an~ class-cons.cio~sness, by emphasizing so clearly an emotional dy­ treats its theme both in the tragic and the comic mode w1thout breaki~g ap~rt, ~amJc whose ~ocJa! .correlative IS a network of external forces directed oppressingly underlining thereby the ambiguous springs of the discrepancy between d1splaymg mward, and w1th wh1ch the characters themselves unwittingly collude to become their intense feelings and the circumstances to which they are inadequate-usually a agen~s: In Minnelli, Sirk, Ray, Cukor and others, alienation is recognised as a basic comic motif but tragic in its emotional implications. . . . . condlh.on, fate is ~ecularis~d into the prison of social conformity and psychologjcal Both Cukor and Minnelli, however, focus on how JdeologJcal contradictions are ne~ros1~, and the lmear traJectory of self-fulfilment so potent in American ideology is reflected in the characters' seemingly spontaneous behaviours-the way self-pity and hv1~ted mto the downward spiral of a self-destructive urge seemingly possessing a whole self-hatred alternate with a violent urge towards some form of liberating action, which soc1al class. inevitably fails to resolve the conflict. The characters experience as a shamefully This typical masochism of the melodrama, with its incessant acts of inner violation personal stigma what the spectator (because of the parallelisms between the di.ffe~ent its mechanisms of frustration and over-compensation, is perhaps brought most into th; episodes in The Chapman Report, and the analogies in the fates of the seven pnnc1pal open through characters who have a drink problem (cf. Written on the Wind Hilda ' 89 88 Thomas Elsaesser Tales of Sound and Fury ity and energy and in films like All I Desire or There's Always Tomorrow, figures of The Cobweb) is forced to recognise as belonging to a wider social dilemma. tane lost spon o often the fundamental' irony is in the titles themselves, this· theme, wh' IC h The poverty of the intellectual resources in some of the characters is starkly contrasted w ere, a S S ' . · b d · h nted the European imagination at least since Ntetzsche, IS absor e mto an with a corre~po~di~g abu~dance of emotional resources, and as one sees them help­ as h au d h . fd' . d h · an small-town atmosphere, often revolving aroun t e questwns o tgmty an lessly strugglmg ms1de the1r emotional prisons with no hope of realising to what degree menc . d · 1' · h A 'bt'lt'ty how to yield when confronted wtth true talent an true vtta 1ty-m s ort, they are the victims of their society, one gets a clear picture of how a certain individual­ responst ' . . . ism reinforces social and emotional alienation, and of how the economics of the those qualities that dtgmty IS called upon to make up for. . In the Hollywood melodrama characters made for ~pe.rettas play o~t the ~r~g.edu:s of psyche are as vulnerable to. manipulation and exploitation as is a person's labour. kind which is how they experience the contradtctwns of Amencan c!Vlhzatwn. The point is that this inadequacy has itself a name, relevant to the melodrama as a h uman , · · I · · Small wonder they are constantly baffled and amazed, ~s ~ana Turner IS m. mztatzon form: i.r~ny or ~athos, which both in tragedy and melodrama is the response to the of Life, about what is g.oing o~ aro~nd them and wtt~m them. The ~tscrepancy recogmhon of different levels of awareness. Irony privileges the spectator vis-a-vis the between seeming and bemg, of mtenhon and result, reg~sters as a perple~mg frustra- protagonists, for he registers the difference from a superior position. Pathos results . and an ever-increasing gap opens between the emotions and the reality they seek from non-communication or silence made eloquent-people talking at cross-purposes twn, · d' · f h h to reach. What strikes one as the true pathos IS the very me w:nty o .t e uman (R~bert Stack and Lauren Bacall when she tells him she's pregnant in Written in the beings involved, putting such high demands upon themselves, trym~ t~ hve up to an Wmd), a mother watching her daughter's wedding from afar (Barbara Stanwyck in exalted vision of man, but instead living out the impossible contradtctwns that ~ave Stella. Dallas) or. a woman returning unnoticed to her family, watching them through turned the American dream into its proverbial nightmare. It makes the b.est Amen?an t~e wmdow (agam Barbara Stanwyck in All I Desire)--where highly emotional situa­ lodramas of the fifties not only critical social documents but genume tragedtes, h~ns are ~nd.erplay.ed to present an ironic discontinuity of feeling or a qualitative :~pite, or rather because of, the "happy ending": they rec~,rd some of the ~gonie.s that difference m mtens1ty, usually visualized in terms of spatial distance and separation. have accompanied the demise of the "affirmative culture. Spawned by hberaltdeal­ .Such archetyp~l melodramatic situations activate very strongly an audience's partici­ . m they advocate with open, conscious irony that the remedy is to apply more of the p~hon, for there IS a desire to make up for the emotional deficiency, to impart the IS ' k . . h same. But even without the national disasters that were to overta e Amenca m t e different awareness, which in other genres is systematically frustrated to produce sus­ 1960s, this irony, too, almost seems to belong to a different age. pense: the primitive desire to warn the heroine of the perils looming visibly over her in ~he shape of the villain's shadow. But in the more sophisticated melodramas this pathos IS most acutely produced through a "liberal" mise-en-scene which balances different po~nts of vi~w~ so th.at the spectator is in a position of seeing and evaluating contrasting attitudes w1thm a g1ven thematic framework-a framework which is the result of the Notes total configuration and therefore inaccessible to the protagonists themselves. The spectator, say in Otto Preminger's Daisy Kenyon or a Nicholas Ray movie is made aware of the slightest qualitative imbalance in a relationship and also sensiti~ed to the tr~gic implications which a radical misunderstanding or a misconception of motives 1. A. Filon, The English Stage, London, 1897. Filon also offers an interesting definition of m1ght have, even when this is not played out in terms of a tragic ending. melodrama: "When dealing with Irving, I asked the question, so often discussed, whether we . If pathos is the result of a skilfully displaced emotional emphasis, it is frequently used go to the theatre to see a representation of life, or to forget life and seek relief from it. m. melodramas to explore psychological and sexual repression, usually in conjunction Melodrama solves this question and shows that both theories are right, by giving satisfaction w1th the theme of inferiority; inadequacy of response in the American cinema often has to both desires, in that it offers the extreme of realism in scenery and language together with an explicitly sexual code: male impotence and female frigidity-a subject which allows the most uncommon sentiments and events." 2. See J. Duvignaud, Sociologie du theatre, Paris, 1965, IV, 3, "Theatre sans revolution, for ~hematisatio~ in various directions, not only to indicate the kinds of psychological anxiety and social pressures which generally make people sexually responsive, but as revolution sans theatre." 3. About the ideological function of !9th-century Victorian melodrama, see lvl. W. Dish~r: metaph~rs of u~freedom or a quasi-metaphysical "overreaching" (as in Ray's Bigger "Even in gaffs and saloons, melodrama so strongly insisted on the sure reward to be bestowed m Than Lzfe). In S1rk, where the theme has an exemplary status, it is treated as a problem of this life upon the law-abiding that sociologists now see in this a Machiavellian plot to keep "de:adence"-where intention, awareness, yearning, outstrip performance-sexual, democracy servile to Church and State .... There is no parting the two strains, moral and ~octal, ~oral. From the Willi Birge] character in Zu Neuen Ufern onwards, Sirk's most political, in the imagination of the nineteenth-century masses. They are hopelessly entangled. Impressive characters are never up to the demands which their lives make on them Democracy shaped its own entertainments at a time when the vogue ofVirtue Triumphant was though some are sufficiently sensitive, alive and intelligent to feel and know about thi~ at its height and they took their pattern from it. ... Here are Virtue Triumphant's attendant errors: confusion between sacred and profane, between worldly and spiritual advancement, inadequ~cy of gesture and response. It gives their pathos a tragic ring, because they take between self-interest and self-sacrifice" (Blood and Thunder, London, I949, pp. 13-14). on suffenng and moral anguish knowingly, as the just price for having glimpsed a better However, it ought to be remembered that there are melodramatic traditions outside the world and having failed to live it. A tragic self-awareness is called upon to compensate for 91 90 Thomas Elsaesser Tales of Sound and Fury puritan-democratic world view. Catholic countries, such as Spain, Mexico (cf. Buiiuel's Mexi­ MUSIC can films) have a very strong line in melodramas, based on the themes of atonement and redemption. Japanese melodramas have been "highbrow" since the Monogatari stories of the . !er Composing for Film, London, 1951. (0 Hans Ets , 68 16th century and in Mizoguchi's films Haru, Shinheike Monogatari) they reach a transcen­ T. W. Adorno, Musiksoziologie, Hamburg, 19 · dence and stylistic sublimation rivalled only by the very best Hollywood melodramas. D. Cooke, The Language of Music, London, 1959. 4. Hans Eisler, Composing for Film, London, 1951. 5. Lilian Ross, Picture, London, 1958. 6. The impact of Madame Bovary via Willa Cather on the American cinema and the popular CINEMA imagination would deserve a closer look. 7. Brighton Film Review, nos. 14, 15, 21. chs "Film Psychology," Close-Up 3, no. 5 (November 1928). 8. Ibid., nos. 19, 20. H. DSa ' t "Ways of Melodrama," Sight and Sound, August-September 1951. R. urgna , . . p . !958 9. I have not seen A Woman's Secret (1949) or Born to Be Bad (1950), either of which might E. Morin, Le Cinema 0 ~ /'~omme i.magmatre, ans, · include Ray in this category, and the Ida Lupino character in On Dangerous Ground J. Mitry, Esthetique du cmema, Pans, 1962. (1952)-blind, living with a homicidal brother-is distinctly reminiscent of this masochistic c· 'matographie franqaise, 7 December 1963. strain in Hollywood feminism. B~~ichols, "Revolution and Melodrama," ~i~ema (USA) 6, n~. I (1970). I 0. As a principle of mise-en-scene the dramatic use of staircases recalls the famous Jessnertreppe J. L. Comolli, Sirk interview, Cahiers du Cmema no. 189, Apnl1967. of German theatre. The thematic conjunction of family and height/depth symbolism is Cinema 71, special number on melodrama (no. 161). nicely described by Max Tesier: "le heros ou !'heroine sont ballotes dans uns veritable scenic­ Jean-Loup Bourget, Positif, no. 131 (October 1971). railway social, ou les classes sont rigoureusement compartimentees. Leur ambition est de r. h n und Film special number on Sirk and melodrama, February 1971. r·ernse e ' · " S 1971 quitter it jamais un milieu moralement deprave, physiquement eprouvant, pour acceder au p, Willeman, "Distantiation and Douglas Suk, Screen, ummer · Nirvana de Ia grande bourgeoisie .... Pas de famille, pas de melo! Pour qu'il y ait melo, il faut avant tout qui! y ait faute, peche, transgression sociale. Or, que! est le milieu ideal pour que se developpe cette gangrene, sinon cette cellule familiale, liee it une conception hierarchique de Ia societe?" (Cinema 71, no. 161, p. 46).

Bibliography: Melodrama

This bibliography is by no means attempting to be comprehensive. It is offered by way of an outline of how the subject might be approached.

THEATRE

M. W. Disher, Blood and Thunder, London, 1949. A. Filon, The English Stage, London, 1897. J. Duvignaud, Sociologic du theatre, Paris, 1965.

NOVEL

W. C. Phillips, Dickens, Reade and Collins, New York, 1919. L. A. Fiedler, Love and Death in the American Novel, London, 1967.