The films of Michael Powell and Emeric Pressburger are celebrated, not necessarily for their story lines, but for their exquisite attention-to- detail. 'Gone to Earth (1950)' was shot on-location at Much Wenlock in Shropshire, England (with some interior filming at Shepparton Studios), and you'll rarely find a more glorious example of a natural setting used to evoke atmosphere. Even from the opening sequence, there's something magical about the English countryside – the wind seems to whisper with the music of a harp; the trees shudder in the breeze as though awaking from a stupor; the clouds stir overhead, signalling discontent in the heavens. Christopher Challis' stunning Technicolor photography captures every natural detail and imbues it with a mystical charm that is stifling and almost oppressive. The Archers produced the film in association with Alexander Korda and David O. Selznick, the latter of whom was so disappointed with the end result that he commissioned Rouben Mamoulian to extensively re-shoot scenes for the film's North American release, which was retitled 'The Wild Heart (1952).'
Even though Powell and Pressburger effectively ignored Selznick's insistent recommendations for improvement, the producer's influence is still readily seen. For one, the film starred Jennifer Jones, by then Selznick's wife, who looks luminous while retaining that earthy homeliness of an English country girl. Her character, Hazel Woodus, in many ways recalls Pearl Chavez from 'Duel in the Sun (1946),' Selznick's costly Western epic. Both women, at first naive and uncorrupted, must choose between marriage to a reliable if unexciting suitor (Joseph Cotten in one film, Cyril Cusack in this one) and the embrace of an unpleasant, morally-barren scumbag (Gregory Peck or David Farrar). In Selznick's Western, Pearl's half-Injun ethnicity is shamelessly exploited to offer her character some sort of uncontrollable base sexuality. In 'Gone to Earth,' that Hazel's mother was a gypsy is utilised for similar purposes, her physical attraction to the repulsive Jack Reddin apparently stemming from this shady half-heritage, in direct opposition to the noble Christianity of her parson husband.
Being mostly about atmosphere, 'Gone to Earth' doesn't have the exquisitely well-rounded characters of 'The Life and Death of Colonel Blimp (1943)' or 'I Know Where I'm Going! (1945).' Nevertheless, the main cast is to be commended for their understated roles. Jennifer Jones' British accent wavers on occasion, but her character is gorgeous and sympathetic, one whose transgressions we're willing to forgive on account of her general innocence; there's certainly a childlike naiveté in her unashamed affinity with nature, particularly her affection towards a pet fox. Less affable is David Farrar, whose oppressive, fox- hunting squire is a perpetual affront to Hazel's virginity. His character, at times, reminded me of Vincent Price's role in 'Dragonwyck (1946),' in which Gene Tierney's virtuousness is similarly destroyed by a uncouth and opportunistic nobleman. Cyril Cusack's clergyman, however honourable, embodies the adage that "nice guys finish last." The film quietly rebukes Edward Marston's unwillingness to take charge of his marriage to Hazel, and yet he overcomes his timidity only to lose everything he's ever cared about.
Even though Powell and Pressburger effectively ignored Selznick's insistent recommendations for improvement, the producer's influence is still readily seen. For one, the film starred Jennifer Jones, by then Selznick's wife, who looks luminous while retaining that earthy homeliness of an English country girl. Her character, Hazel Woodus, in many ways recalls Pearl Chavez from 'Duel in the Sun (1946),' Selznick's costly Western epic. Both women, at first naive and uncorrupted, must choose between marriage to a reliable if unexciting suitor (Joseph Cotten in one film, Cyril Cusack in this one) and the embrace of an unpleasant, morally-barren scumbag (Gregory Peck or David Farrar). In Selznick's Western, Pearl's half-Injun ethnicity is shamelessly exploited to offer her character some sort of uncontrollable base sexuality. In 'Gone to Earth,' that Hazel's mother was a gypsy is utilised for similar purposes, her physical attraction to the repulsive Jack Reddin apparently stemming from this shady half-heritage, in direct opposition to the noble Christianity of her parson husband.
Being mostly about atmosphere, 'Gone to Earth' doesn't have the exquisitely well-rounded characters of 'The Life and Death of Colonel Blimp (1943)' or 'I Know Where I'm Going! (1945).' Nevertheless, the main cast is to be commended for their understated roles. Jennifer Jones' British accent wavers on occasion, but her character is gorgeous and sympathetic, one whose transgressions we're willing to forgive on account of her general innocence; there's certainly a childlike naiveté in her unashamed affinity with nature, particularly her affection towards a pet fox. Less affable is David Farrar, whose oppressive, fox- hunting squire is a perpetual affront to Hazel's virginity. His character, at times, reminded me of Vincent Price's role in 'Dragonwyck (1946),' in which Gene Tierney's virtuousness is similarly destroyed by a uncouth and opportunistic nobleman. Cyril Cusack's clergyman, however honourable, embodies the adage that "nice guys finish last." The film quietly rebukes Edward Marston's unwillingness to take charge of his marriage to Hazel, and yet he overcomes his timidity only to lose everything he's ever cared about.