The Children's Hour

The Children’s Hour adorns the innocence of youth to manipulate the mature through increasingly captivating fabrications. The Wright-Dobie School for Girls, a private school operated by mutual friends and former classmates Karen and Martha. A secluded establishment of education where youthful female individuals are raised to become proficiently independent women against the masculinity of 60s America. Elocution above all else. The limited teaching space and claustrophobic educational methods inciting wealthy families to send their spoiled conniving children to this particular abode. One such child is Mary, an overindulged bully whom supplies fabrications to wriggle her way out of trouble. After being uncovered, she is consequently punished through the removal of her privileges. Enraged, she rampantly returns home to her grandmother and eagerly twists a rumour that accuses school owners Karen and Martha as lesbian lovers, despite the former being engaged to a reputable obstetrician. The grandmother’s lavished influence tarnishes the school’s reputation, ultimately obliterating the lives of two innocent individuals whom have apparently participated in the ultimate sin of homosexuality.Wyler’s second dramatic adaptation of Hellman’s ‘34 Broadway production, in which the slightest mention of homosexuality on stage was deemed illegal at the time, granted the director an opportunity to fully embellish the central fabricated love story. His first adaptation, ‘36’s ‘These Three’, was forced to alter the lie to revolve around adultery instead of homosexuality, given the Hays Code would never permit lesbianism on screen. Fortunately the freedom of speech in art had been liberalised, allowing screenwriter Hayes to restore the original intent of the falsehood. Despite various scenes being cut, with Wyler concerned about the critical reaction, the bulk of the alleged homosexuality and the resulting societal abandonment were captured beautifully with adequate sensitivity regarding the subject matter. The primary focus of Hellman’s story is the unlimited capabilities that children have over adults. Their divine irreproachable conduct transforming them as conduits for false allegations, with the tainted parents unable to withdraw their stance. One menial lie has the omnipotence to devastate others. Children are unable to see the repercussions of such actions, enlisting a sensitively dangerous aura. Hayes undoubtedly convinces, with Balkin’s ostentatious exaggerative stares swiftly manipulating all those who stare back. Her virginal persona perfectly inducing agitation when predicting the inevitable consequences of her actions.Yet beneath the manipulative fabrications is a tale that corresponds to societal segregation. The incredulity of homosexuality, despite being just allegations, and how devout Christian suburban communities are meteoric to neglect such sexual orientation. A perpetuation of reality. Hayes, boasting the plot with intoxicating dialogue exchanges that manifests power amongst the powerless, clearly understood this LGBT issue by offering a palpably emotional third act that attempts to allow assured heterosexuality to dissuade homosexual postulations. Yet, the alleged sexual orientation was never discussed amongst the cast and crew. Almost as forbidden in reality as it was theatrically, evidently a poignant significance in LGBT cinema.The outstanding performances from both Hepburn and MacLaine bring forth substantial depth to the pivotal chemistry of the leading characters. The former sensitively projecting emotional fragility beneath her posture of elegance, but it’s the latter’s performance equaling that by vocally commanding every scene with the rich ferocity of a hurricane. What a performance! Incredible. The two complement each other extraordinarily, preventing this feature from falling into the realms of melodrama.Wyler’s direction significantly imitates a stage production, with actor and set positions resembling a clinical aesthetic. Such as MacLaine or Hepburn effortlessly turning away when their dialogue had been completed, or Planer’s static cinematography encompassing all actors in the same frame without experimenting with motion. For that, it does lose a cinematic quality that would’ve enhanced the muted drama had it been less rehearsed and more personable. The courtroom scenario would also have been a substantial addition to the story, offering a required completeness.The Children’s Hour’s technicalities may be somewhat stilted, however the societal issues beings raised, that of LGBT dissociation and the fostering of narcissism through youthful fabrications, create pivotal moments of drama that operate concurrently. Accompanied by outstandingly emotive performances and a screenplay that seamlessly connects these characters, Wyler’s second adaptation provides much scintillating justice for the true nature of Hellman’s source material. “We’ve cleaned your house”.

This is a film worth watching.As a fan of both Hepburn and MacLaine it was for me an essential purchase. The subject is rather dark, certainly for the time of its release. Two women are faced with potential destruction of their professional lives and reputation in the local community following the testimony of a young schoolgirl. For viewers under 30, in todays very open and tolerant moral climate, it may be hard to understand just how taboo some things were in the not too distant past. Also this story is set in affluent parochial USA, which even today is very morally conservative compared to the UK and Western Europe.The film is in black and white and this is a real plus for establishing the ambiance. The production quality is excellent. The two female leads give excellent performances, unfortunately James Garner [in the key male role] only manages a 'so so' turn. One weak point in the telling of the story is the not immediately apparent jump in time from the 'accusation' and the outcome of a trial, which quite frankly you are not even made aware has taken place until much later. Perhaps the directors take was longer and had more time to develop the details, perhaps it was edited to bring it down to the 1hr 44m that we see. Personally I would have been happy to watch a 2hr version if it existed.This film is fundimentally about women, and the bulk of the cast are female of varying ages, with the male actors merely playing second fiddle. In the current climate, with female stars protesting the absence of good parts for women, and serious stories built around women, this film is one to see.

I don't know. I've watched it a couple of times and realise that it captures well the world of my grand parents and the taboo that surrounded homosexuality... Not so long ago, it was not even mentioned... It was known to exist bur not acknowledged... It was the elephant in the room... The mere thought of it profoundly traumatised a society that had yet know the high points and the low points of the sexual revolution. Makes me wonder if this was the world of my celibate aunts... So happy that we are in a very different place today. To all: enjoy this movie for what it is and what it represents... Much like Tea & Sympathy you'll never forget the experience & sometimes even wonder what the big deal was anyway... The only thing missing in this movie was religion...

A departure from romantic plots to a very much more serious topic whereby Audrey Hepburn and Shirly Maclaine working as teachers in a small midwest town are falsely accused of having a lesbian relationship, the destroyers the school and their lives. This moves away from Audrey Hepburn as model and beauty icon and displays her considerable acting abilities, so too Shirley MacLaine, who is as ever marvellous James Garner plays Hepburn's doctor husband to be who placed in a difficult position. The movie is thought full and well acted, although the truth does come out, it is too late for all protagonists. A very modern theme for the time and well worth watching.