One of the most charming and lovable films ever made
On the surface, Harvey is a very simple and easily forgotten film. It does not immediately appear to be 'cinematic' and seems to more of a filmed stage production than an actual noteworthy picture in it's own right. Despite this however, I am not only a huge fan of this film, but it contains one of my all time favourite leading performances, from Mr. Jimmy Stewart himself.
Harvey was released in 1950 and is an adaptation of Pulitzer Prize winning play of the same name. The film's origins as a play are very apparent, both in terms of its pacing and in the style of acting it contains. Director Henry Koster was clearly more concerned with capturing the essence of the original play than morphing the story into a cinematic one, and in most cases I would critisise this decision. However it works so well here that I can only see excessive changes as a bad thing, and I commend Koster for how thoroughly he held his ground in maintaining the story's essence. Harvey is not a big or bombastic film, it is a simple tale about a man who sees a giant white rabbit. The simple setup the film utilises allows the actors to stretch themselves in ways they otherwise would;d not be able to, and it allows Stewart to deliver his amazing performance (Spoilers from this point onward).
James Stewart dominates this film in every single scene he inhabits. I am thoroughly convinced that his character, Elwood P. Dowd, is the most lovable man ever put on screen, and Stewart immerses himself in the role completely. His excellent and highly expressive face is a total joy to watch, and his controlled posture gives the character the air of a gentle giant. The film's outstanding screenplay gives Stewart every opportunity to showcase the depth of his performance. Perhaps the most well known scene in the film is a monologue delivered by Elwood describing how his imaginary friend came to be named Harvey. This scene stands as one of the most engrossing monologues I have seen in any film and stands as a testament to Stewart's incredible ability as an actor.
Beyond Stewart's performance, Elwood is a highly fascinating character in his own right. The nature of his mental illness is left vague and the concept of the supernatural is never totally dismissed, leading the audience to constantly wonder whether or not Harvey is real. The audiences ultimate decision on whether he is real or not does not weaken the film in any way, rather the extra audience involvement acts to help them get engrossed in the drama's of Elwood's life. It sounds cliche' to say, but I honestly forgot I was watching a film at points, as the story and dialogue was so effective at keeping me engaged in the action onscreen. Harvey is not a film which will immediately win over it's audience, it aims to do so in a slower fashion, capturing the viewer's heart with it's lovable characters and charming ambiance.
All of the previous elements that make this a masterpiece in my eyes were noticed on my first viewing, however it was upon my second where I began to notice the subtle brilliance of the film's cinematography and editing. They appear to be basic at first, however it is surprisingly far from standard. On my second watch I began to notice how long shot's were held for, continuing to run far beyond where I would usually expect a cut. The director clearly did not want his actor's performances disfigured by cuts, and allows the script to dictate the film's flow rather than the editor. This is a risky move and could have resulted in a boring film, wherein every scene would simple comprise of people talking in a flat and dull shot. However here it becomes a dance, with Stewart and the other main players leading the camera around the sets in slow but unmistakably beautiful movements. The film also offers some highly memorable imagery, particularly in it's iconic final shot, and is overall far more visually sophisticated than I originally gave it credit for being.
The final thing I wish to talk about, the element which convinced me to cover this film for this series, is the theme of time. Elwood, and other characters, frequently make reference to how different Elwood was a few years ago, and that Harvey has not always been with him. We get hints that Elwood was a far more 'normal' person, possibly in a high position of authority. These hints come together in a monologue which reveals that Elwood does not look back fondly on his old self, holding that it is better to be pleasant than clever. Much can be taken from this small undercurrent, however I choose to believe that the film is stating that a person can always change, and there is no excuse to remain in an unhappy lifestyle when you can always change it.
Overall, Harvey is a masterpiece. It's acting is some of the best you will ever see in an American film from this period, and it uses the film form in quietly brilliant ways. Track it down for yourself, and discover one of the definitive classic American films in my opinion.
By Jack D. Phillips
Masterpiece Corner #3
Harvey was released in 1950 and is an adaptation of Pulitzer Prize winning play of the same name. The film's origins as a play are very apparent, both in terms of its pacing and in the style of acting it contains. Director Henry Koster was clearly more concerned with capturing the essence of the original play than morphing the story into a cinematic one, and in most cases I would critisise this decision. However it works so well here that I can only see excessive changes as a bad thing, and I commend Koster for how thoroughly he held his ground in maintaining the story's essence. Harvey is not a big or bombastic film, it is a simple tale about a man who sees a giant white rabbit. The simple setup the film utilises allows the actors to stretch themselves in ways they otherwise would;d not be able to, and it allows Stewart to deliver his amazing performance (Spoilers from this point onward).
James Stewart dominates this film in every single scene he inhabits. I am thoroughly convinced that his character, Elwood P. Dowd, is the most lovable man ever put on screen, and Stewart immerses himself in the role completely. His excellent and highly expressive face is a total joy to watch, and his controlled posture gives the character the air of a gentle giant. The film's outstanding screenplay gives Stewart every opportunity to showcase the depth of his performance. Perhaps the most well known scene in the film is a monologue delivered by Elwood describing how his imaginary friend came to be named Harvey. This scene stands as one of the most engrossing monologues I have seen in any film and stands as a testament to Stewart's incredible ability as an actor.
Beyond Stewart's performance, Elwood is a highly fascinating character in his own right. The nature of his mental illness is left vague and the concept of the supernatural is never totally dismissed, leading the audience to constantly wonder whether or not Harvey is real. The audiences ultimate decision on whether he is real or not does not weaken the film in any way, rather the extra audience involvement acts to help them get engrossed in the drama's of Elwood's life. It sounds cliche' to say, but I honestly forgot I was watching a film at points, as the story and dialogue was so effective at keeping me engaged in the action onscreen. Harvey is not a film which will immediately win over it's audience, it aims to do so in a slower fashion, capturing the viewer's heart with it's lovable characters and charming ambiance.
All of the previous elements that make this a masterpiece in my eyes were noticed on my first viewing, however it was upon my second where I began to notice the subtle brilliance of the film's cinematography and editing. They appear to be basic at first, however it is surprisingly far from standard. On my second watch I began to notice how long shot's were held for, continuing to run far beyond where I would usually expect a cut. The director clearly did not want his actor's performances disfigured by cuts, and allows the script to dictate the film's flow rather than the editor. This is a risky move and could have resulted in a boring film, wherein every scene would simple comprise of people talking in a flat and dull shot. However here it becomes a dance, with Stewart and the other main players leading the camera around the sets in slow but unmistakably beautiful movements. The film also offers some highly memorable imagery, particularly in it's iconic final shot, and is overall far more visually sophisticated than I originally gave it credit for being.
The final thing I wish to talk about, the element which convinced me to cover this film for this series, is the theme of time. Elwood, and other characters, frequently make reference to how different Elwood was a few years ago, and that Harvey has not always been with him. We get hints that Elwood was a far more 'normal' person, possibly in a high position of authority. These hints come together in a monologue which reveals that Elwood does not look back fondly on his old self, holding that it is better to be pleasant than clever. Much can be taken from this small undercurrent, however I choose to believe that the film is stating that a person can always change, and there is no excuse to remain in an unhappy lifestyle when you can always change it.
Overall, Harvey is a masterpiece. It's acting is some of the best you will ever see in an American film from this period, and it uses the film form in quietly brilliant ways. Track it down for yourself, and discover one of the definitive classic American films in my opinion.
By Jack D. Phillips
Masterpiece Corner #3
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