The Cowboy and the Lady () - IMDb
Based on the play by Lillian Hellman its remarkable These Three saw the say significant changes were made and the result is this first look at. Release date. March 18, (). Running time. 93 minutes. Country, United States. Language, English. These Three is a American drama film directed by William Wyler and starring Miriam . sentiment, quaintness and exaggeration, one began to watch the incredulous pleasure of nothing less than life.". The story of nine working-class young men from the University of when they captured the gold medal at the Olympic Games in Berlin.
While she is scraping paint off a wall, Martha sees Joe come inside before he sees her. Hastily, she takes off her glasses and smoothes her hair. Joe listens to her talk about the newspaper stuck on the wall until Karen calls to him from offscreen.
At this point, though, Joe has not displaced Martha entirely. In the next scene, Joe and Karen — without Martha — bring a load of lumber back to the house. Tilford and Mary; Mrs. Some pleasantries establish that Mrs. She turns her back on Joe to watch the receding Lincoln. The kiss, however, signals a growing intimacy between Karen and Joe, though the romance moves somewhat slowly by Hollywood standards, while the connection between Martha and Karen diminishes. The kiss also marks the point of divergence between the play and the film, as the focus shifts from an examination of power relations to a story of love relations.
He spends the time trying to declare his love for her, while she wants only to ride the carousel. He stalks off in a pout and finally shouts at her that he loves her.
These Three () – Journeys in Classic Film
More quietly, she tells him she loves him, too. Karen and Joe are now a bona fide Hollywood couple. Citing the early Hellman biographer Richard Moody, the more recent biographer Carl Rollyson notes that Hellman was known for her inability to write love scenes Rollyson, When he finally barks out his affection, Karen seems stunned and drops a large piece of cake, hardly a romantic gesture.
After the mutual admissions of love, the film begins to focus on that relationship. Not only has the lesbianism been erased, but the entire question of power relationships vanishes with it.
Through similar conventions, Martha tells the audience that she also loves Joe. The first clue comes in the scene where she takes off her glasses before Joe can see her with them on. Every moviegoer knows how to read that gesture.
She wants Joe to find her attractive.
The Marilyn Monroe character in How to Marry a Millionaire even takes off her glasses to answer the phone. This early scene establishes how much Martha wants Joe to like her, while the later declaration scene lets audiences know that Martha has been replaced by Joe. While the play locates the source of the rupture in the power which Mrs. With the lesbianism left out, director William Wyler could cast an actual child as Mary. In New York City where the play premiered, civil law required that year-olds portray Mary and all of the year old girls, to avoid contributing to the delinquency of minors.
In the play, Mary seems Iago-like, wreaking havoc without having any investment in the results. When Karen and Joe encounter Mrs. Tilford, and she mentions sending Mary to the new school, Mary protests immediately, trying to remind her grandmother of her promise that she would be able to stay home. Assigning Mary a motive simplifies the story because the problems generated by her lies become more explicable, more subject to a cause-and-effect type of rationalization that relieves the audience of having to make its own meaning out of the turmoil.
In the play, Mary sets in motion a string of events and then is absent from the stage — a lacuna as far as most critics were concerned. In the film, on the other hand, her absence after achieving her goal of getting out of school, does not provoke the same response because she has served her purpose for the Hollywood love story: The audience is concerned not about how all the turmoil came about, who is at fault, but rather how not if Merle Oberon and Joel McCrea will get together.
Because of the Hollywood need to assign motives, Hellman enlarged the role of Mrs. Mortar, making her more central to the forward movement of the linear plot. In the play, Mrs. Mortar unconsciously provides Mary with ammunition for her accusation.
In the film, she helps to unify discreet plot points, lending the film a simplistic cohesion that the play does not have. As in the play, it is Mrs. Mortar who says the words that eventually make their way to Mary, who is then able to manipulate them into the dark secret. Mortar is also involved in the episode with the bracelet, discovering Mary and Rosalie early in the film and later mentioning the incident to Martha.
Making the plot development with the bracelet into a sort of mystery, which Martha eventually solves, further relieves the audience of having to sort out the events for themselves.
The changes Hellman made in the narrative function of both Mrs. Hellman made the most significant change in the ending of the film. Most critics argue that Hellman should have ended the play with the suicide: The Production Code had quite a bit to say about suicide, but in any case Hellman could not have Martha commit suicide over Joe.
Instead, Martha and her aunt simply leave Lancet on the train. A child passes down the aisle, and Martha pats his head. By gentle persuasion, Martha induces Rosalie to tell her the truth and to repeat it in front of Mrs. Amelia Tilford tells her granddaughter: You have made me make my first dishonorable mistake. On the stairs, as Mary struggles, Agatha slaps her hard, the way members of the audience probably wanted to slap her. Mary submits because the relations of power are clearly reversed.
Many of the lines between Karen and Mrs. Tilford from the last act of the play are reassigned to Martha and Mrs. However, the movie does not end where the play does. Tilford her messenger, sending her to Karen to tell her to go to Joe wherever he is.
The last scene in the movie takes place in Vienna where Karen finds Joe at a coffeeshop he mentions earlier. They kiss in the doorway while amused patrons look on — fadeout to the credits and happy love music.
All tension in the film is resolved when the couple of Joe and Karen is solidified. Erasing the lesbianism moves the film away from the main point of relations of power, which has the same effect as if Hellman had ended the play with the suicide. The ending becomes palatable, much less complex, allowing instead a standard, simple love story to stand at the dramatic center of the film.
Instead of sacrificing herself to her own belief in sexual norms as in the play, Martha single-handedly rights a wrong, sacrificing her own love for Joe so that the two lovers can be together. While she makes a noble gesture, her actions do not call into question the relations of power that effect the separations in the first place.
One member of the Washington crew, well acquainted with that hardship, was a year-old named Joe Rantz. Rantz had been born the second of two boys, in Spokane, a lumber town across the state from Seattle. When he was four years old, he watched his mother die of lung cancer. Daniel James Brown, Author: He remembered being at her funeral. But he never really knew his mother. He was sent east to be with an aunt for a time and, eventually, returned to the care of his father Harry and stepmother Thula.
Their life together was fraught with financial troubles and emotional tension from the outset. Thula took a dislike to Joe almost immediately. Thula was just outraged and demanded that Joe leave the house. To feed himself he had to work at the camp kitchen. So he found himself basically living on his own for the first time when he was just ten years old.
Joe lived in the schoolhouse for a few months before moving with his family to another town in Washington. A day came when Joe came home from school and he found the family car with the whole family in it and all kinds of luggage in it.
It was emblematic of other kids during the Great Depression. You had the economic thing -- not knowing where your next meal is gonna come from -- and then you had the family dysfunction. The only place you can go, the place to call home, that was taken away from Joe Rantz. So he comes out of those two completely broken systems -- the two foundations of living basically. Judy Willman, Daughter of Joe Rantz: The teenager lived alone for two years. He hunted and fished for food and made money by selling stolen liquor and working as a logger.
All the while, he remained in school. Then his older brother invited him to come live in Seattle. For the first time, he could live something close to a normal life. He began competing in school sports. One day, he caught the eye of the University of Washington crew coach, Al Ulbrickson, who was looking for potential rowers to recruit. Ulbrickson showed up at Roosevelt High School and he noticed this big, tall, blond kid on the gymnastics equipment.
Joe had great upper body strength. He had somebody that wanted him. I think he saw an open door and he decided he would go through it.
There were no scholarships for rowing at the University of Washington in those days. As long as you were in good standing on the crew, they would find a part time job for you somewhere on the campus. And for somebody like Joe Rantz that made all the difference. Eric Cohen, Rowing Historian: There were multiple men on that team that were finding it hard to survive and had found it hard to survive up to the time that they had gotten to Washington.
Gordy Adam worked on a salmon boat to make money for college. Very hard working kid -- very tough. Roger Morris would find himself working for his father on the weekends, time and again, moving families out of their homes, homes they had lost because of the Depression.
Stub McMillin was working at nights as a janitor. Stub was having a very hard time making ends meet. Some of them got into rowing for the food. I mean they knew they were gonna get fed regular meals by the University of Washington, which seems laughable to a modern audience but it was a big deal back then.
So these guys were hanging on by the skin of their teeth. By June ofat the end of his first year on campus, Joe Rantz had emerged as one of the strongest rowers on the freshman crew. There, Rantz and his teammates would face crews from Cornell, Columbia, and Penn -- opponents with backgrounds very different than their own. You have the worst lot in life against privilege, and all of that happens when they go against the Ivy Leaguers.
Thousands of fans attended regattas where they cheered their favorites from beaches, docks, rooftops, ferries and even open observation trains that ran the length of race courses. But the Washington freshmen were the revelation of the regatta, capturing their national collegiate title by five boat lengths over Syracuse.
It was almost like it was effortless. They came out of that sitting up instead of gasping. There was a huge amount of press and speculation of whether this was an Olympic team. I think trust is the single-most important thing in rowing. You really do become part of something larger than yourself. Every time you take a stroke, you are counting on everybody else in the boat to be putting his whole weight -- full strength -- into that stroke. That is only gonna happen if every man in that boat trusts the others on a very fundamental level.
The freshmen champions returned to the shell house as sophomores to train for the upcoming spring racing season. Most observers thought they would be named to the top varsity boat -- the crew that would give Washington its best chance to get to its first-ever Olympics in Berlin the following year. But the idea that Joe Rantz and the sophomores were the boat to beat was deeply resented by upperclassmen. One of the more vocal dissenters was Bobby Moch. Just five feet seven and pounds, Moch was a coxswain, tucked in the rear of the racing shell, where light weight was an advantage.
A Coxswain commanded the pace and direction of the boat, and ensured the rowers in front of him were fully in concert. A Phi Beta Kappa student, Moch had endured a childhood racked by asthma, in a logging town in southwestern Washington.
He took his seat in the racing shell every day the same way he approached everything: Marilynn Moch, Daughter of Bobby Moch: He was on the basketball team giggles. He constantly played sports. He was very competitive. He was very smart, but he did not see himself as smart. He saw himself as disciplined. And Moch always had his chin up a little bit -- and just exactly what you want in a coxswain.
With the Olympic games in view, the University of Washington crew gets the jump on eastern oarsmen. Like every other upperclassman, for Bobby Moch, the central goal of the season was to find his way into the varsity boat, ahead of Joe Rantz and the sophomores. While the ice-bound easterners work out in gymnasiums, the Huskies pile into their shells.
Come and Get It () - IMDb
It was all overseen by a coach, who just a decade earlier, had been a star Washington rower himself. Al Ulbrickson had won two national championships as a Husky, but never got to an Olympics.
Bob Ernst, Rowing Coach: Al Ulbrickson was a pretty hard man. He was not at all communicative.
These Three (1936)
Sportswriters called him the 'Dour Dane. The taciturn coach appeared content to fuel months of battle between his rowers as the first race of the season approached. In the boathouse, confusion, tension, and hostilities between the sophomores and upperclassmen escalated. Ulbrickson would sometimes just jerk boys out of boats without giving an explanation.
Some of the kids had a hard time with that. Joe Rantz certainly did. It made him very uncertain about things. Peter Mallory, Rowing Historian: He put the line ups up on the chalkboard. He barely said anything in the launch. It was very toxic -- boats not talking to one another. My dad liked to play mind games on the others, primarily coxswains, but also the guys that were rowing if he could think of a way to do it.
Michael Moch, Son of Bobby Moch: And he was really pushy, you know. I mean, he -- this was gonna happen. There was this animosity that led to a bare-knuckle kind of environment. There would be almost vicious competition between the men. There were shoving matches. Feelings got very hurt. Psychologically this was a hard game that these kids were involved in.
Ulbrickson waited until after dinner the night before the first race of the season to finally announce his decision: But when training resumed, Ulbrickson still had questions about his top crew, testing them relentlessly in practice, and watching them grow sloppy and unpredictable. Just before the national championship, Ulbrickson reversed himself. Judy Willman, daughter of Joe Rantz: They had gotten themselves to the place where it was kinda easy to be demoralized. And there they go!
Seven finely trained crews, churning the fog-shrouded waters of the upper Hudson, in the supreme rowing test of power, speed and coordination. But Cal and the rest of the field soon caught up.
California leads Washington by a length, approaching the river bridge at the three-mile mark. Cal won its third straight national championship. In a surging drive, the California Bears nose out the Cornell shell. The Huskies, meanwhile, returned to Seattle a worn-out, fragmented team. Ulbrickson had gambled, and lost.
Now, after the upheaval between the sophomores and upperclassmen, they were all in danger of missing out on the Olympics. A good coach creates the framework for a team to trust each other.These Three (1936) Review (#27)
And so there was a breakdown of trust in the shell house. George Pocock was so much more than a boat builder. He really in many ways was a sage. And Pocock taught generations of rowers at Washington to approach rowing as if it were a craft.
When you walk away from a race, I want you to walk away having left a piece of your heart in that race. And if you approach perfection, you were approaching the divine. Within a few years of his arrival in America, Pocock set up shop building racing shells in the loft above the Washington boathouse. An accomplished oarsman as well, Pocock became a valued advisor to Washington coaches along the way, including Al Ulbrickson.
There was a very, very strong connection there. George was a man of few words as well. But those two or three words likely were very powerful and probably changed things along the way. With the Olympics just months away, Ulbrickson was determined to put his mistakes of the previous year behind him. He made clear to his team that the upcoming season would be their most grueling yet, and added a sixth day of training to every week.
Every seat in the varsity boat was up for grabs. It was every man for himself. Ulbrickson takes him out of the boat. The boat slows down. Ulbrickson puts him back in the boat, the boat goes faster but then it goes slower the next day. So he finally asks George Pocock. George Pocock was almost like a father-figure.
Dad was sinking from boat to boat. As somebody who had sort-of been a throw away kind of person, he found himself being thrown away again. He developed an attitude that he had to do everything his own way. And that worked for him living out in the woods. But that was really a problem for him when it came to crew. He needs to begin to trust. This was when he had to do it. And he had to take advantage of the enormous talent of Don Hume.
After just one season on the team, Don Hume was being talked about as perhaps the best Washington stroke-oar -- the rower charged with keeping the rhythm of the boat -- since Al Ulbrickson himself. He actually worked in a pulp mill as a kid. And there was an unfortunate consequence of that. Fumes in the mill damaged his lungs.
So it made him very susceptible to respiratory illnesses.