Henry James' masterful novella 'The Aspern Papers', inspired by the love letters of Shelley to Claire Clairmont, has here been given the classic Hollywood treatment, that is to say it has acquired a new title, been altered out of all recognition, is utterly devoid of its author's psychological depth, robbed of his finely wrought dialogue, peopled by one-dimensional characters who bear little or no resemblance to those in the original and has opted for purely sensationalist elements.
This is actor Martin Gabel's one and only stab at directing a film and he is blessed to have the services of one of Hollywood's finest cinematographers Hal Mohr who provides oodles of atmosphere whilst legendary Alexander Golitzen is responsible for the art direction. Mr. Gabel and his cast do their best with the material at their disposal. The character played by an impassive Robert Cummings is never delineated in the novella so one can give his casting the benefit of the doubt whereas Susan Hayward as Tina Bordereau is a much glamorised version of James' tremulous, middle-aged spinster and Agnes Moorhead's withered Juliana is far more sympathetic than the greedy and domineering ancient relic of the author's imagining. The makers have also invented a distinctly non-Jamesean villain played by John Archer and thrown in for good measure Eduardo Ciannelli as a priest.
Subsequent versions although truer to James' text are all alas unsatisfactory in their way and as for screen adaptations of his other works, William Wyler's 'The Heiress' is the only one, for this viewer at any rate, that ticks all the boxes.
This is actor Martin Gabel's one and only stab at directing a film and he is blessed to have the services of one of Hollywood's finest cinematographers Hal Mohr who provides oodles of atmosphere whilst legendary Alexander Golitzen is responsible for the art direction. Mr. Gabel and his cast do their best with the material at their disposal. The character played by an impassive Robert Cummings is never delineated in the novella so one can give his casting the benefit of the doubt whereas Susan Hayward as Tina Bordereau is a much glamorised version of James' tremulous, middle-aged spinster and Agnes Moorhead's withered Juliana is far more sympathetic than the greedy and domineering ancient relic of the author's imagining. The makers have also invented a distinctly non-Jamesean villain played by John Archer and thrown in for good measure Eduardo Ciannelli as a priest.
Subsequent versions although truer to James' text are all alas unsatisfactory in their way and as for screen adaptations of his other works, William Wyler's 'The Heiress' is the only one, for this viewer at any rate, that ticks all the boxes.