Poseidon-3 Review of The Story of Esther Costello

The Story of Esther Costello (1957)

Deja Vu...Joan becomes the spokesperson for a major organization, but it's not soda pop!

[30 August 2005]

Made while Crawford was still newly married to her final (and most say most compatible) husband, this drama foreshadows in some ways the role she would later take in spearheading the publicity of a corporation. She plays a wealthy divorcée on a visit to her birthplace in Ireland who is introduced to a pathetic young girl (Sears) who is deaf, blind and mute. Reluctantly, she takes the girl under her wing, appalled at the conditions under which she has been living, and returns to the U.S. When it becomes clear how much work it will take to make Sears function in any way normally, she devotes herself to the cause, staying in the school with her until she can communicate. The inspiring story of this transformation leads to an international charity association and, unfortunately, unearths Crawford's estranged husband Brazzi. The trio lives as a family again, but things aren't always as smooth as they appear. Crawford gives a strong portrayal of a mostly selfless individual, though, at this stage in her career, softness was something she had to affect more than present naturally. The strong brow, mannered inflection, stiff jaw and severe posture were already starting to resemble caricature, though she does inject more than a little heart into her role. Sears, quite a remarkable discovery, does an admirable job in a role (based very loosely on Helen Keller) that requires expression and reaction without benefit of dialogue. It is to Crawford's credit that Sears is permitted to retain her place as the title character and the central focus of the story in an era when a star could easily have whittled the part down in order to showcase herself. Brazzi is attractive and slick and, though he isn't entirely believable as Crawford's mate, the two do develop a strong relationship to one another. Patterson turns up as an interested reporter and Randell adds some zest as a chiseling promoter. The strengths lie in the large scope of the story and the attention to detail of the education of Sears. (Amusing as these scenes can sometimes be, they are reputed to be reasonably factual in their presentation.) All of the performances are committed and solid. Weaknesses would include a tendency toward the wildly melodramatic and the occasionally unintentional comedy of Crawford traipsing around muddy Ireland and schools for the blind in a variety of elaborate, but not-always-lovely, Jean Louis concoctions. It's difficult to know whether Joan had any inkling when making this film that she would soon be flying around to openings and dedications in the name of Pepsi-Cola, enacting much of the same glad-handing public relations that she does here. In any case, it served as a dress rehearsal for her.