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That Forsyte Woman [VHS]

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THAT FORSYTE WOMAN is the film of part one of John Galsworthy's "The Forsyte Saga", and stars Greer Garson and Errol Flynn in two of their finest performances.

Irene (Greer Garson), reluctantly marries Soames Forsyte (Errol Flynn) a charming and genteel man. After the marriage, however, Soames shows his true colors; cold, controlling and manipulative.

Two years go by, and Irene's niece (Janet Leigh) introduces her to her beau, an architect (Robert Young). Without knowing it, Irene and the architect begin a torrid love affair that ends in tragedy..........

Stunning Oscar-nominated costumes and lush, plush sets abound in this engrossing film. Very good indeed.

"That Forsyte Woman" is the type of movie that MGM is known for-- a first rate cast, good script, excellent scenic and costume design, and top notch direction.

An adaptation of a classic novel, MGM legend Greer Garson is cast as Irene, a piano teacher who not only marries well-to-do lawyer Errol Flynn, but also into his family, the Forsytes.

At first, all seems like a perfect little Victorian era marriage, however there is a dark side to Flynn's character. Ms. Garson ends up falling for her niece's fiancee, a young architecht, played by Robert Young. Garson tries to stop Young's pursual of her, however, they both succumb to their love. When niece Janet Leigh learns of the affair between her aunt and fiancee, she does a deed that will bring turmoil to the good Forsyte family name. The film co-stars Walter Pidgeon, as Leigh's black sheep father, and Harry Davenport, as Leigh's grandfather, patriach of the Forsyte clan.

The film is a jewel in the crown of MGM and deserves a place in the classic film library of someone who appreciates Hollywood greatness.

This is VERY loosely based on Book One of John Galsworthy's "The Forsyte Saga". The story is so altered from the original that it's barely distinguishable, aside from the fact that the main characters are Soames Forsyte, Irene "Herrinford" Forsyte, and Phillip Bosinney. Despite being set in 1880s London, there is no real sense of the period, and no one really has an English accent--but that's the least of the film's woes. In the original book and subsequent mini-series adaptations, Irene is a beautiful, free-spirited woman who wants to marry for love. She is forced into marriage with Soames Forsyte, who is an extremely repressed individual who loves her but cannot express it. Irene does not have any feelings for Soames, which makes the one-sided love affair all the more heart-wrenching. Here, in this film version, Irene seems not to mind Soames at all. She smiles and laughs and actually seems to enjoy his company during their courtship. She then inexplicably rejects his proposals of marriage, even though she seemed to be pretty well taken with him. Later she begins to drift away, but even then it isn't the coldness that comes through in the novel. Irene remains the focus of the rest of the film, which does borrow some plot elements from the original work, but it deters greatly towards the end. Like Irene, Soames is not quite the character that Galsworthy described, though he is given a few chances to exhibit that Forsyteian preoccupation with property. His treatment of Irene is somewhat believeable; he has a formalness around her, as though dealing with a valuable object, but he does not show that underneath it all he really loves her. The film is lacking in scenes with the entire Forsyte clan. This is possibly the most damaging to the film, since just about every Forsyte has something unique and entertaining to give to the story. If you like old period films, this one is worth a look. But if you are a fan of the books and/or the mini-series, it's not.

Almost everyone would be aware of the two equally famous television adaptations of John Galsworthy's respected literary work "The Forsyte Saga", however fewer people would know of this first much earlier film version released in 1949 that covered the period dealt with in Book One of Galsworthy's masterpiece. Despite MGM's increasing financial troubles as the 40's decade brought great changes to moviemaking in general here they really pulled out all their old magic to create a "typical prestige picture", the like of which would have warmed the heart of the studios by now long dead boy genius Irving Thalberg. The film boasts the only meeting on screen of legends Greer Garson, who was still the Queen of MGM despite some box office set backs, and on loan out Warner Bros. idol Errol Flynn in a quite pleasing non traditional role. Despite their very different screen personas and personalities the pair mesh surprisingly well on screen and almost make one forget that this film was also another in the legendary teamings of Garson with frequent costar Walter Pidgeon. The MGM attention to detail is evident everywhere here from the lavish production values, stunning period costumes and a supporting cast the like of which is largely unheard of nowadays.

In one of her last great starring roles at MGM Greer Garson plays Irene, a young piano teacher struggling through life who becomes the object of desire of well to do Soames Forsyte (Errol Flynn). Part of the elite Forsyte family of Victorian London Soames is expected to marry well and avoid "golddiggers", as are all the Forsyte's. Headed by patriarch Old Jolyon Forsyte (Harry Daven port), the Forsytes are expected to marry for position, money, and prestige none of which Irene possesses. Nevertheless Irene exventually gives in to Soames' persistent attentions as he is a man used to gettign his own way in all things. Soames and Irene enter into what amounts to being a marriage of convenience whereby irene is furnished with all the material conforts she could wish for while Soames has the woman he always wanted above all else. The years roll along and we are introduced to the other members of the Forsyte clan including bohemian artist Young Jolyon (Walter Pidgeon), long considered the black sheep of the family and banned from contact with the family including his daughter June (Janet Leigh), because he ran off with a maid after his wife's death. Irene encounters Young Jolyon at an art showing and begins to attempt to bring father and daughter together after such a long seperation. Irene however soon encounters her own personal problems when against her own better judgement she finds herself; no doubt as a reaction to her loveless marriage, drawn into an attraction towards June's suitor, architect Philip Bosinney (Robert Young). Philip is eager for life and free of the pretensions for power and position so evident in all the Forsytes however Irene sees the unhappiness that her involvement with him would cause to June and the family despite their mutual attraction. Philip however is determined to win Irene and when Soames discovers that Irene is going to leave him things come to a violent head with Philip being killed and Irene finally leaving Soames for good for the company of the man who was best suited to her all along, the affable Young Jolyon, who after he and Irene eventually marry finds great success in Paris as an artist.

Many "Forsyte" purists may object to the modified elements of this memorable story presente dhere however on its own merits "The Forsyte Woman", stands the test as one of MGM's finest prestige productions from the late 1940's. It certainly provided Greer Garson with a welcome and indeed a much needed return to the sort of roles she played to perfection earlier in the decade. While her Irene in this film is no Mrs Miniver the two are familiar women that suit Greer Garson's acting style to perfection. The timing of "The Forsyte Woman", was also spot on coming as it did after the critical panning of her most recent efforts such as "Adventure", with Clark Gable and the disaster of the George Cukor directed "Desire Me", when Garson was badly needing another success to restore her position as MGM's top female star. Errol Flynn is a joy in his role of the repressed victim of his own families ambition and his Soames is a wonderful illustration of the range Flynn was capable of displaying when given the proper role that challenged him. Despite being anatagonists for much of the time in the script he enjoys a terrific chemistry on screen with Greer Garson and here she has the added benefit of not just one but two leading men ideally suited to her in more mature Errol Flynn and of course with regular screen partner Walter Pidgeon. Happily Pidgeon and Garson end up as a married couple at the end of the story which keeps alive that wonderful tradition in their films together of always playing the well matched couple. Walter Pidgeon is perhaps not so central to as much of the action as he is in his other teamings with Greer Garson but he makes the most of his part with his always sincere and reliable playing and he makes an interesting contrast to the darker playing by Errol Flynn. The supporting cast as in all these prestige MGM productions is second to none. Robert Young finally gets th eopportunity to play a lively character after all the tuxedo'd characters he yawned through during the 1930's. As young June's fiancee and suitor to th eolder Irene he makes a great impression as the free thinking young architect who is not intimidated by the power or position of the Forsyte's. Janet Leigh and Harry Davenport as respectively the youngest and oldest members of the Forsyte clan also do good work with Leigh in particular as the young girl caught in a romantic triangle with her aunt showing the great promise as a dramtic actress that blossomed in later years. Another great strength of "That Forsyte Woman", is in its high production values boasting as it does authentically researched Victorian England settings courtesy of studio genius Cedric Gibbons, gorgeous costumes, and enough period flavour to really believe this story was taking place in England and not simply filmed in Hollywood. "That Forsyte Woman", is indeed one of the last hurrahs of MGM's golden era of no expense spared fine period dramas and by the end of the decade apart from the colossal production planned of "Quo Vadis", there is a very noticeable tapering off in production of these types of "typical", MGM period dramas.

As an illustration of stuffy Victorian mores, behaviours, and family pretensions you can't really better "That Forsyte Woman" despite its playing around with elements of the original story. It is first and foremost the performances and production values that make this film a viewing experience to cherish, and they are a classic illustration of what "old Hollywood", under the studio system was capable of producing on an amazingly regular basis. Greer Garson, Errol Flynn and Walter Pidgeon were three of Hollywood's most popular and loved stars during the 1940's and here we have the opportunity for almost the last time at enjoy them in roles that do their talents justice. If you love period dramas in beautiful technicolour settings then dont miss "That Forsyte Woman".

...is as the man of property, Soames Forsyte. As a third generation, upper middle class, solicitor, who appreciates a good income, his collection of good paintings, and the interest compounding on his savings, he wants to possess the beautiful Irene (Greer Garson). He can marry her and own her time and body, but he can't quite get inside her head in order to achieve the intimacy he craves. Flynn manages to convey all of this without histrionics, but through a controlled and wonderful performance, which doesn't falter throughout the film. Flynn alone makes this a melodrama to watch more than once to appreciate his skill, not to mention his own physical beauty. Despite his exceptional good looks his cold manner allows us to understand why Irene ultimately rejects him.

Based on John Galsworthy's book, "A Man of Property," the script is surprisingly faithful and well written for a Hollywood adaptation of a classic novel. The production design is first rate, as if Cedric Gibbons had been born to execute it. The costumes are from the correct period and the Victorian bric a brac and gingerbread architecture make the audience understand Bosinney's (Robert Young) desire to streamline his building designs.

Flynn's performance is so astoundingly good that he leaves the rest of the cast pale in comparison. Luckily, the cast is composed of great stars with lots of film experience such that the finished movie is really special to watch. I especially liked Janet Leigh as the young and naive June Forsyte. Although much more beautiful than leading lady Greer Garson, Leigh makes us believe that June, although lovely, is just too young and inexperienced to really fascinate the complex artist Bosinney for any length of time. Walter Pigeon is fine as Young Jolyon Forsyte, and perfect casting because of course we know that Garson and Pigeon, a great screen couple, always belong together in their films. Henry Davenport is a crotchety but loveable Old Jolyon, and the rest of the formidable Forsytes are very like the "waxworks" described in the novel. I would watch this on VHS if it was the only way to get it, but TCM shows the film sometimes, so a DVR would work even better.

The less you know about John Galsworthy's novel "A Man of Property" or his entire work "The Forsyte Saga," the more you will like this 1949 MGM movie by director Compton Bennett. That is a shame, become Errol Flynn's controlled performance as Soames Forsyte is quite impressive and those who are familiar with the literary classic or the BBC mini-series versions will look favorably on his approach compared to either Eric Porter or Damian Lewis. Soames is one of the more interesting flawed characters in literature, but is take the entire saga to lay him out completely and the script by Jan Lustig, Ivan Tors and James B. Williams with additional dialogue by Arthur Wimperis reduces it to a Victorian melodrama.

"That Forsyte Woman" was the first movie Errol Flynn got to make for somebody other that Warner Bros., and my understanding is that he had his choice of which Forsyte to play and picked the cold and ruthless Soames. Apparently incapable of love, Soames marries the lovely Irene (Greer Garson), although his feelings for her basically amount to possessiveness. But he has promised her that if there marriage does not work he will grant her his freedom. Irene is then courted by Philip Bosinney (Robert Young), a young architect who is the fiancé of June Forsyte (Janet Leigh), the daughter of Young Jolyson Forsyte (Walter Pidgeon), who abandoned his wife for another woman. To make things even more interesting, Soames hires Bosinney to build a new home to make Irene happy.

It sounds complicated and it suddenly strikes me that the basic story here is comparable to "Rich Man, Poor Man," in that the family's initial judgment between Soames and Young Jolyson as to which is the more moral man is completely wrong. Pigeon turns in a nice performance as a man comfortable with being ostracized by his family but saddened by the loss of contact with his daughter. However, Young simply does not cut a dashing enough figure for us to believe that Irene would really be interested in him, no matter how much hell Soames is putting her through. There are a few moments where Garson's Irene actually seems worth desiring, but if we do not buy the passion between Irene and Bosinney then the tragic aspects of this story simply do not work. The attraction here is an indication of what Flynn could do as an actor, even as Galsworthy's story is given a lamentable Hollywood treatment.

In 1949 MGM was on the verge of its 25th year of film making. To celebrate, the studio spared no expense on serveral big budget films based on famous novels, and "That Forsyte Woman" was given the special treatment. At the sametime, at Warner Brothers, Errol Flynn was signing his third contract with the company, but this time he was allowed to leave the studio, once a year, and make a film for MGM. WB had forced him into low budget films since about 1943, only returning to big budget in "Adventures of Don Juan" which floated like a lead ballon.

So Flynn packed his bags and set sail for the land of MGM, where they would give him the big budget he actually deserved and to prove to WB that he was infact, and to Bette Davis' surgrin, an actor, and a serious actor at that. It worked! He met Greer Garson, the two worked together famously and, for once in a Flynn film, production went smoothly. When offered the choice of anyone of the three male "leads" he chose Soames Forsyte. Personally I think its the better written of the three male "lead" roles so it was an excellent choice.
The critics where amazed, this guy can act!, they cried, but WB did not listen.

Greer Garson and Janet Leigh are excellent as the two female "leads" haha. Walter Pidgeon and Robert Young are also good, Walter Pidgeon more than Robert Young, Bosinney just was not written well. This was one of the few films in which Flynn is in a dramatic role, and he was more than up to the challenge.

I love this Title. I have been waiting a long time for this movie to come out in color. All the actors played an exellent role. The picture quality is very clear.

.....It is difficult to imagine that Robert Young could beat out Errol Flynn in the lover department. The fact that Flynn makes it believable is evidence of his acting ability. This was probably Flynn's greatest acting role. Greer Garson was never lovlier and she must have been really lonely to fall in love with Young. It is a credit to her acting ability that she pulled it off. Robert Young was totally unbelieveable as the Bohemian lover and Janet Leighs part was a throw away that could have been played by anyone.

.....The only pairing that made sense was Garson and Pidgeon and though somewhat contrived it is the way the movie ended.

I like Flynn, Garson, and even Galsworthy as much as anyone, but what were they thinking when they cast and wrote this movie? First of all we are to believe that Greer Garson is going to leave Errol Flynn for Robert Young? Who would prefer Marcus Welby to Captain Blood? Of course, we all know she is going to end up with Walter Pidgeon, anyway, but what woman in her right mind would choose Robert Young over Errol Flynn?



I suppose that Robert Young might have the edge because Flynn, transplanted from his native soil of Warner Borthers to MGM, seems to think that acting constipated constitutes great acting. Flynn tries to pretend to be as materialistic as Soames, but you know in his heart of hearts he is longing to chase starlets at the Brown Derby or Maid Marian in Sherwood Forest



Of course Greer Garson might be wondering what her motivation was in the first place. She is her usual pleasant self and it is difficult for her to come to grips with the character's ambiguities. In the book Irene marries Soames because her choices are limited and Soames loses her because he is unable to express his love for her. In this version Soames cannot act because he is miscast and Irene is too caught up with maintaining a characterisitic upbeat atmosphere to notice. Let's just say that Basil Rathbone (Soames), Lana Turner (Irene), and Errol Flynn (as Bosinney) would have made much more sense. Walter Pidgeon is perfectly cast as the decent Jolyon.



Along with the casting mistakes poor judgement is shown in the script. The movie omits the rape sequence, although the characters behave like it happened just the same. Irene is suddenly and inexelicably wandering through the fog, apparently seeking to throw herself under a carriage for some strange reason. What has happened here? She has merely had a fight that scarcely rises to the emotional tempo of a wet tea bag and yet here is Mrs. Miniver bereft of all interest in life. One knows exactly what has happened if one has read the book, but the script writer appears to have lead a sheltered life. Why Irene should long to be violently trampled to death can only be ascribed to the fact that she sympathizes with her husband's digestive difficulties and decides to end it all in an effort to appease these angry gods. The only motivation she has is that she and Soames had a sharp discussion which is hardly serious enough to long for the feel of horses hoofs on oneself. In the Forsyte Saga TV series Fleur and Michael had quarrels like this usually every episode and no one started eyeing carriages in this peculiar way.



Just as Irene wants to find that carriage with her name on it Bosinney decides to horse whip Soames (and being hit by the very hansom cab that Greer Garson had been previously intent on finding - a satisfying moment since he no longer is around to entice Greer/Irene!)



In a twinkling of an eye Greer Garson runs off with Walter Pidgeon who she should have married in the first place. It would have been more gratifying to watch these two stand up to Hitler or discover radium or something equally noble than to see them bracketed by the miscast Flynn and Young. As it is they are able to put these two actors behind them and live together through at least two or three potential sequels. Yes, this is the sort of movie they should not make anymore and thank God for that!



About the only thing that can said for this production is that it avoids some of the excesses of the recent Masterpiece Theatre TV series which made the Forsytes richer and more ostentatious than royalty. One can thank one's lucky stars that one misses the sight of Flynn purchasing Impressionist paintings vice the Old Masters that Galsworthy and Eric Porter's Soames prefers. Although this probably would have been the one true and authentic gesture in this film.