All this eventually explodes into a series of furious
confrontations where the true colours of various participants are revealed. In
the 1950s Picnic looked like a criticism of the cosy conservatism of
small-town America. But today, it actually feels more than a little nostalgic
for the lost innocence of those times. Sure, some people in the town are less
than sympathetic, or their lives have been crushed by the expectations of others.
But generally, with its pastel colour palette and its generally fundamentally
well meaning characters, it now feels a rather reassuring watch.
Like many films that pushed the envelope at the time, it also
looks rather tame today. The film is strong on demonstrating the impact of the
sexuality of a topless Holden on the women of the town – nearly all of whom go
weak at the knees. But generally, the film’s sexual content now looks
remarkably safe and gentle. A sense of powerful longing for something missing
from their own lives does comes across strongly – Russell’s Mrs Sidney, worse
for wear from drink, ends up feebly trying to pull up Holden’s trousers to look
at his legs while dancing. But the sexual outbursts largely restrict themselves
to that and a few passionate clinches.
Logan’s film throws in a few big visuals (such as the
closing helicopter shot as a bus drives out of town) and clearly enjoys its
location shooting, but remains stage-bound. Several scenes translate across
exactly to backyard locations, the same sets in all but name that appeared on
stage. It also struggles to fill the cinemascope screen, for all that James
Wong Howe’s photography has a certain Autumnal beauty to it (you won’t see any
vibrant greens, reds or yellows). In addition, many of the actors go for somewhere
between naturalism and a mannered Broadway show-boating.
Perhaps the main issue is that film dwarves this slight and
intimate story. Moments of intimacy that on stage you feel carry impact –
heartfelt declarations and tortured confessions – don’t carry nearly so much on
screen. In fact, the story ends up feeling rather slight and even predictable: the
drifter has depths, but the town unfairly turns against him, the old-maid schoolteacher
is deeply frustrated, the local beauty juggles depression, the good natured son
of the local bigwig is a self-entitled bully. None of this really feels
revelatory and, on screen, easily drifts by with little impact.
Logan’s stagy style also has a mixed impact on the acting
with some going for a cinematic underplaying, and others inspired by a
theatrical grandness to embrace the big moments. Leading the way in that camp
is Rosalind Russell who gives a strong performance as the frustrated
schoolteacher, but frequently allows herself to go a little too far in moments
of emotional outburst. It’s particularly noticeable as she’s paired with Arthur
O’Connell (reprising his Broadway role, and getting an Oscar nomination) who
underplays with a quiet wit and honesty.
One of the film’s principle problems are with the two leads.
William Holden gives a fine performance – fun-loving and kind but also cutting
a rather sad and tragic figure behind the bonhomie – but is blatantly too old
for the role. Hal is probably meant to be in his 20s – Holden was 37 and, with
his craggy face, actually looks older. While it does add a level of Hal being increasingly
irresponsible for his age, the part really means a charismatic youngster
dripping sex appeal (think James Dean – Paul Newman was turned down for the part).
Opposite him the inexperienced Kim Novak does, at times, give her line readings
a striking genuineness but at others comes across as slightly wooden.
A stagy and slightly old-fashioned watch today, Picnic
was nominated for several Oscars, but increasingly looks rather like a
celebration rather than a gentle criticism of the small-town values it depicts.
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