Leave Her To Heaven Filming Locations


Exit Her to Sky (1945)


Groundwork





Leave Her to Heaven
(1945), an unsettling psychological noir thriller
and
lush Technicolored melodrama from managing director John M. Stahl, was based on the recently-written novel by best-selling writer Ben Ames Williams. After an intense bidding war, studio head Darryl F. Zanuck acquired the picture show rights in 1944 for an exorbitant price tag of $100,000 for the unpublished work (information technology was published a month later). Its screenplay was written past Jo Swerling, a Ukrainian-built-in Hollywood screenwriter known for previous hits including
The Westerner (1940), the remake
Claret and Sand (1941),
The Pride of the Yankees (1942), and Hitchcock’s
Lifeboat (1944). Alfred Newman’s thrilling score was meticulously planned and written during the film’southward production, to closely match the story’s emotional ups and downs.

The flick’southward taglines hinted at the film’s major themes: obsession, jealousy, and base man sin:

  • HERS WAS THE DEADLIEST OF THE Vii SINS!
  • The sin she committed in the name of love could not exist judged by man…or punished past law!
  • For love she would requite anything…even her life…or destroy annihilation… EVEN THE LIFE OF ANOTHER!

The title for the “woman’south moving-picture show” was derived from the phrase (“leave her to heaven”) in Deed 1, Scene 5 of Shakespeare’southward
Hamlet,

spoken by the ghost of Hamlet’south father to his princely son Village. The expressionless father described how he had been murdered as he slept in his garden, when villainous Claudius poured poison into his ear in order to assume the throne every bit Denmark’due south King, in concert with Hamlet’s corrupted and incestuous female parent, Queen Gertrude. However, the spirit urged Hamlet to not seek revenge: “Get out her to heaven, and to those thorns that in her bust gild to prick and sting her.”

The 110 minute postal service-war film, the first picture noir shot in incongruous Technicolor (with an orangish or amber tint), was a tale of psychotic, compulsive love and doomed romance. The morbid story was virtually a menacing, male parent-fixated, unstable, deranged, and darkly archetypal
femme fatale
named Ellen Berent (Factor Tierney).

The classical Greek mythic elements of the picture show take too been commonly observed:

  • the Electra complex of the
    femme fatale
    – exhibiting an overwhelming possessiveness for her beloved father
  • the memorable horseback ride to scatter her male parent’southward ashes from an urn held at her waist, resembling empowered female person Hippolyta (with a magic girdle)
  • the disturbing murders of her husband’s younger brother and her ain unborn child, resembling Medea – a effigy of great intelligence, skill, plotting manipulation, and vengeful common cold-blooded murder

Obsessed with possessing her newlywed husband entirely to herself, she committed three ghastly murders to take her mode – the deliberately neglectful and passive drowning murder of her own crippled brother-in-law, a do-information technology-yourself miscarriage by tumbling down stairs, and her own suicidal murder via toxicant to jealously implicate (after her decease) a romantic rival – her ain adoptive sister/cousin. Yet,
Leave Her to Heaven (1945)
was 20th Century Fob’s top-grossing film of the 1940s, earning $v.5 million in domestic ticket sales alone. In tone, the film resembled Douglas Sirk’s later color-drenched melodramas in the 1950s, including

Magnificent Obsession (1954)

and
Imitation of Life (1959), and Todd Haynes’ more recent
Far From Heaven (2002).

Attracting, ethereal and highly-seasoned (but often under-rated because of her “Ice Queen”-similar persona) screen extra Gene Tierney – with sparkling dark-green eyes – had recently received acclaim for her previous performances in Fox’southward and Ernst Lubitsch’s dramatic comedy
Heaven Can Expect (1943)
opposite Don Ameche, and as the title character in Otto Preminger’s noirish mystery
Laura (1944). Presently after, she went on to more hits, including
The Razor’due south Edge (1946)
opposite Tyrone Ability and Joseph Fifty. Mankiewicz’s
The Ghost and Mrs. Muir (1947)
opposite Male monarch Harrison. Withal, before she was chosen for the lead office in mid-January of 1945, other actresses were considered, including Tallulah Bankhead, Ida Lupino, Linda Darnell, Paulette Goddard, Joan Fontaine, and Lauren Bacall.

[Coincidentally, this film marked the 2d fourth dimension (on-screen) that Vincent Price played the office of Tierney’s rejected love interest – in an earlier moving-picture show
Laura (1944), Cost was also Tierney’s jilted quondam lover.]

The subversive motion-picture show required some catchy finnagling, due to censorship challenges from the Breen Function regarding the depiction of a deliberately-induced or forced ‘miscarriage’ (that could have been interpreted as an abortion). It was the first on-screen ‘ballgame’ passed under the Production Code since stricter Hays Code enforcement had been established in 1934. Films were not allowed to depict ‘ballgame’ as an alternative to pregnancy – until the mid-1960s when
Alfie (1966, UK)
became the first major film to discreetly depict an ‘abortion’ (although the term was never explicitly used) – performed in Alfie’due south (Michael Caine) apartment behind a drape. Alfie had hired an ‘abortionist’ (Denholm Elliott) for Lily (Vivien Merchant), and afterward the operation was over, Alfie had a grim reaction to a view of the about-formed unborn child (off-screen).

The film had four Academy Award nominations with one Oscar win – (All-time Color Cinematography – Leon Shamroy) – information technology was rare that the dark picture noir was filmed in such exquisite Technicolor. The master nomination was for the atomic number 82 grapheme portrayed past Gene Tierney (honored with her sole career nomination) every bit the cute and ‘wicked’ Ellen Berent – a pathologically neurotic, possessive and insanely-jealous woman. Tierney lost to a deserving Joan Crawford for her comeback function in
Mildred Pierce (1945). The other two nominations were for Best Sound Recording and All-time Colour Fine art Management/Interior Decoration.

The film was remade as a TV-movie titled
Too Good to be True (1988), with Loni Anderson in the atomic number 82 role.


The Story


The film’s opening title credits were portrayed in storybook format. Various chapters identified locations –


Deer Lake, Maine


A gunkhole glided into the dock of a beautiful lake, bringing author-writer Richard “Dick” Harland (Cornel Wilde) home from a two-year prison sentence. He was met and greeted by his defence attorney, Glen Robie (Ray Collins). Dick was transferred to an awaiting canoe, to paddle himself upwardly to his family’s cabin-lodge. A nervous bystander, one of many who averted their gaze, remarked: “Poor dear man.” He had supposedly “been through hell,” though Robie thought: “To a human similar that, two years in prison is worse than hell.” Another onlooker recognized the ex-con as Dick Harland, who lived in a nearby order known every bit “Dorsum of the Moon.” Robie sat at an outdoor cafe overlooking the lake and spoke to his friend:

Well, of all the 7 deadly sins, jealousy is the virtually deadly.



Start of Flashback

Robie related the story in flashback (a common technique in film noirs), near how Richard had ended upwardly spending 2 years in prison, starting time with a preface about how the protagonist had showtime met a deadly and deranged
femme fatale
socialite on a train – she inverse his life forever:

Some might say I lost the case for him…Well, there’southward some things that couldn’t exist told in the court. Yet, of all the people involved, I suppose I’m the only ane who knew the whole story. You meet, it was through me they outset met. He’d been working very hard on a new volume. I invited him up to my place in New Mexico for a rest. They met on the train.

Richard was on a journey via train to Robie’s Rancho Jacinto in New Mexico. The first view inside the rear club car (with a green color scheme) of the train was of a female person, her face covered past the book she was reading – information technology was Richard’south latest novel: “Time Without End.” She lowered the book, revealing her unusual dazzler, and then feigned falling comatose to proceeds Richard’south awe-struck attention by having her book drop to the floor. She intensely stared at him, then apologized for awkwardly becoming fixated on him, and added that he closely resembled her tardily father – undoubtedly revealing her own Electra complex (the female version of the male person Oedipus complex – a desire to possessively love her father):

Y’all look so much like my father. When he was younger, of class, your historic period. A most remarkable resemblance.

He chuckled, nervously admitted he was too staring at her, but non because she looked like his mother. Captivated, he complimented her on her remarkable exotic beauty and claimed he was being truthful (just non just to flatter her), using flowery and poetic prose:

It’ll be the truth and nothing only the truth. Any resemblance to flattery volition be sheer coincidence…While I was watching you, exotic words drifted across the mirror of my mind as summertime clouds drift across the sky…Watching yous, I thought of tales in the
Arabian Nights
of myrrh and frankincense and… patchouli.

She recognized that he was quoting from the book she was reading, and found the exact passage – peradventure thinking of him every bit plagiaristically unoriginal. He rated the book as a “sloppy task” and to his surprise, she agreed. Soon after, at the station in Jacinto, New United mexican states, Glen Robie greeted – not Richard – but three plainly-wealthy females disembarking together, including the pretty female:

  • Ellen Berent (Factor Tierney), wearing dazzling white furs
  • Mrs. Margaret Berent (Mary Philips), Ellen’s mother
  • Ruth (Jeanne Crain), Ellen’s adopted (or foster) sister, actually her cousin

Glen also strode upward to Richard and greeted him, before everyone was introduced to each other. The group of iv visitors was escorted upwards to the ranch in a wood-paneled, blueish station wagon. Once they arrived at the ranch, surrounded by iconic reddish sandstone buttes and spires, they were warmly greeted past Mrs. Louise Robie (Olive Blakeney) and her two young children: Tess Robie (Betty Hannon) and Lin Robie (Hugh Maguire). Richard explained that his younger disabled brother Danny Harland was not able to visit – he was “flat on his back” at Warm Springs, Georgia while being treated by doctors.


[Note: 1940s audiences would have been well enlightened of the geographical reference. President Franklin D. Roosevelt, afflicted with a paralytic illness, was regularly treated at the spa at Warm Springs, known for naturally-heated hot mineral springs. Presumably, he suffered from polio but mayhap Guillain–Barré syndrome. Frequent visits led to the locale being dubbed FDR’s “Trivial White House.”]

During a dinner of freshly-caught trout later that evening, Ellen announced that her mother didn’t care for New Mexico (even though it was her starting time visit). Ellen said that she had annually vacationed during springtime at the ranch with her father (a friend of Glen’due south), and again mentioned the remarkable resemblance betwixt Richard and her father (“his face up, his voice, his manner”). Richard expressed an interest in meeting Ellen’southward father, not realizing that the family unit were in that location for the patriarch’s funeral. He learned that Professor Berent had died some fourth dimension ago in the East, and that family members were there to spread his cremated ashes the next forenoon high up in the New Mexico mountains (“a favorite spot of his”).

Richard listened as Ruth played the pianoforte that evening while Ellen was out on a strolling walk – Ruth told him that both Ellen and herself were “psychic” but they were not truthful biological sisters:


I’m her cousin. I’ve lived with her family unit ever since I was a child. Mrs. Berent adopted me.

Shortly afterwards on the outdoor terrace with Mrs. Berent (from the Beacon Hill expanse in Boston), Richard remarked: “I think everything’south more than beautifuI here.” When he defenseless upward to Ellen, he apologized for clumsily asking about her father during dinner chat, and she accepted. She said she was very close and “inseparable” from her begetter: “Nosotros were both happiest when we were together.” He noted that she was wearing a diamond engagement ring.

Early on the next forenoon at five:00 am, Richard followed on horseback later Ellen into the New United mexican states hills, and watched with a fascinated await from afar as she dramatically rode over a ridge scattering her father’s ashes (dumping them from a large urn that she moved from side to side). The film’s musical score emphasized the wild and emotional nature of her thunderous ride. Both Ruth and Mrs. Berent also sat on horseback and calmly observed. Afterward inside the ranch-house well-nigh 12 hours later, as Ruth was again at the piano playing tinny music, in stark dissimilarity to the ash-scattering sequence, everyone’southward emotions were under command. At the window, Richard was awaiting Ellen’due south delayed return from “the pretty wild country upwardly there.” Glen and Mrs. Berent were surprisingly unworried: “Nothing ever happens to Ellen.” Impatient and unable to wait whatsoever longer, Richard rode upwards to the high-country and located Ellen. She thanked him for attending the family’s funeral and spoke about her male parent:

Father used to say it was like riding across the front lawn of heaven. Nosotros made a pact to bring our ashes here when we died. ‘If you lot die first,’ I told him, ‘I’ll bring yours here. If I dice offset, yous’ll bring mine.’ Yet, I know now, people you beloved don’t really die.

The ranch clock chimed three times (3:00 am) on their return as they entered the ranch’s front end door. She stated she had a “unlike opinion” of his book and had establish it “quite absorbing” – the alter came because she “got interested in i of the characters…the author.” She explained how the book reflected his personality:

‘Every book’s a confession,’ my father always said. Form, you have to read betwixt the lines.

She described her new-found agreement of him – confessing later on that she had read the dust-jacket blurb under his moving picture:

You lot’re a bachelor. Thirty years quondam. You were born and raised in Boston and you went to Harvard, where you edited the
Lampoon. When you graduated, you went to Paris and yous studied painting for a while. You take a gild in Maine chosen ‘Back of the Moon’. Before you lot went in for writing novels, y’all were a paper human being. Your favorite sport is line-fishing, and you speak French and Castilian quite well.

He congratulated her for her sleuthing skill, but then also foretold her possessed and crazed nature: “Shades of Sherlock…If you lot’d lived in Salem a hundred years ago, they’d have burned you.”

Source: https://www.filmsite.org/leaveher.html