Home Classic Movies Director George Stevens DVDs: Pro-Colonialism Classic + Immigrant Nostalgia

Director George Stevens DVDs: Pro-Colonialism Classic + Immigrant Nostalgia

Director George Stevens with James Dean on the set of Giant (1956), which earned Stevens his second Academy Award. The previous one had been for the socially conscious romantic drama A Place in the Sun (1951). Curiously, neither film topped the Best Picture category.[1]
  • Studio era director George Stevens is the focus of four Warner Home Video DVD releases: the pro-British colonialism adventure Gunga Din, the Norwegian immigration drama I Remember Mama, and the George Stevens Jr.-directed documentaries George Stevens: A Filmmaker’s Journey and George Stevens: D-Day to Berlin – the latter featuring rare World War II color footage.
  • Director George Stevens’ prior DVD releases include Alice Adams, Woman of the Year, and Giant.

Director George Stevens DVD releases include pro-British colonialism classic & Norwegian immigration nostalgia + Hollywood & WWII documentaries

The director of about two dozen narrative features, ranging from the musical Swing Time and the social comedy The Talk of the Town to the blockbuster Western Shane and the all-star New Testament epic The Greatest Story Ever Told, George Stevens was one of the most well-regarded filmmakers of the studio era and the winner of two Best Director Academy Awards (A Place in the Sun, 1951; Giant, 1956).

George Stevens is also the focus of four Warner Home Video DVD releases:

  • The pro-British colonialism adventure classic Gunga Din, starring Cary Grant, Douglas Fairbanks Jr., and Victor McLaglen.
  • The nostalgia-filled immigrant family drama I Remember Mama, which earned Oscar nominations for four of its cast members, including star Irene Dunne.
  • The documentaries George Stevens: A Filmmaker’s Journey and the made-for-TV George Stevens: D-Day to Berlin, both directed by George Stevens Jr. The former features interviews with a number of Stevens (Sr.) collaborators and clips from his movies; the latter includes chunks of rare World War II color footage.

The four George Stevens DVDs should be available in the U.S. on Dec. 7. Below is a brief overview of each movie.

Gunga Din: Big-budget pro-colonialism adventure classic

Officially based on Rudyard Kipling’s 1890 poem of the same name, but with key elements from Kipling’s 1899 short story collection Soldiers Three and other stories, the British Raj-set adventure comedy-drama Gunga Din (1939) was RKO’s costliest release to date.

Director George Stevens inherited the project from the originally assigned Howard Hawks, who had run into trouble after the 1938 comedy Bringing Up Baby went over schedule and over budget, resulting in a $365,000 loss (about $5 million in 2004) for the studio.

A number of hands worked on the various drafts of the Gunga Din screenplay, but only four writers ended up with their names on screen: Ben Hecht and Charles MacArthur were responsible for the “story,” while credited for the final screenplay were Joel Sayre (who had worked with Stevens on the Barbara Stanwyck Western Annie Oakley) and Fred Guiol (Stevens’ collaborator on the modestly budgeted mid-1930s comedies The Cohens and Kellys in Trouble, Kentucky Kernels, and The Nitwits).

Gunga Din with Cary Grant and Ann Evers. Behind-the-scenes footage shot during the making of director George Stevens’ pro-British colonialism classic can be found in the documentary George Stevens: A Filmmaker’s Journey.

Colonial-scented The Front Page

As the three bombastically heroic British soldiers fighting a bunch of villainous South Asian types, Cary Grant, Douglas Fairbanks Jr., and Victor McLaglen found themselves cast in roles – not coincidentally – similar to those created by former Chicago-based reporters and Gunga Din “story” writers Hecht and MacArthur for their 1928 Broadway hit play The Front Page.

In The Front Page, Chicago tabloid editor Walter Burns will do whatever it takes to keep ace reporter Hildy Johnson on the beat and away from the arms of his dainty fiancée. In Gunga Din, Royal Engineer Sergeants Grant and McLaglen will do whatever it takes to keep fellow Sergeant Fairbanks Jr. in uniform and away from the arms of his dainty fiancée (a pre-stardom Joan Fontaine).

Self-sacrificing ‘darkie’ saves British Empire rule

Admittedly, not found in The Front Page is the title character.

In brown make-up, future Best Supporting Actor Oscar nominee Sam Jaffe (The Asphalt Jungle, 1950) plays Gunga Din, the British Indian Army’s water-carrying, bugle-playing “darkie” who, aspiring to one day become a Soldier of the Queen himself, ultimately saves the day, sacrificing himself while helping his lighter-skinned, English-speaking Christian rulers defeat a group of murderous, dark-skinned heathen zealots known as the Thuggee.

Besides its blatant racism and utter corruption of the anti-colonialist message conveyed by Kipling’s poem – and in spite of its generally first-rate production values (e.g., Joseph H. August’s black-and-white cinematography) – there are other problems with Gunga Din: the humor is juvenile; future Best Actress Oscar winner Joan Fontaine (Suspicion, 1941), the female lead in Stevens’ 1937 musical A Damsel in Distress, is wasted in a non-role; and at nearly two hours, the film itself is a tad overlong.

Compounding matters, Cary Grant – at his best as sophisticated urbanites – brazenly overacts alongside ravenous scenery-chewer Victor McLaglen (Best Actor Oscar winner for The Informer, 1935) and Douglas Fairbanks Jr., whose performance, even if less effusive than those in The Exile and Sinbad the Sailor, is a patent emulation of his silent-era superstar father.

As for director George Stevens, he had fared much better – and would continue to fare much better – in more humanistic, less Saturday-matinee-oriented efforts. Case in point: I Remember Mama.

I Remember Mama with Irene Dunne surrounded by Philip Dorn, Oskar Homolka, and Barbara Bel Geddes. Dunne, Homolka, Bel Geddes, and Ellen Corby were all shortlisted for Academy Awards; director George Stevens and the film itself, however, were bypassed.

I Remember Mama: The quaint old days of Norwegian immigration

For his first post-World War II movie, the early-20th-century San Francisco-set family drama I Remember Mama (1948), director George Stevens was brought back to his alma mater, RKO, from Liberty Films, an independent production outlet in which he had become a partner along with William Wyler and co-founders Frank Capra and (former Columbia and RKO production executive) Samuel J. Briskin.

Based on John Van Druten’s Richard Rodgers and Oscar Hammerstein II-produced 1944 hit Broadway play, itself an adaptation of Kathryn Forbes’ 1943 semi-autobiographical novel Mama’s Bank Account, I Remember Mama stars another former RKO contract talent, Irene Dunne, in the role originated by veteran Austrian actress Mady Christians (The Waltz Dream, A Wicked Woman).

As the determined but kind-hearted Norwegian immigrant matriarch “I” remembers, Dunne delivers one of the most affecting performances of her remarkable two-decade-plus Hollywood career, deservedly receiving her fifth – and final – Best Actress Academy Award nomination for her efforts.

Best Supporting Actress nominee Barbara Bel Geddes (later of Dallas fame) was cast as the titular “I,” Mama’s eldest daughter (Joan Tetzel on stage), a sensitive type gifted with an impressive episodic memory.

No Marlon Brando

Also in the I Remember Mama cast: two other Oscar-nominated performers, Ellen Corby (later of The Waltons fame) and, reprising his stage role, Oskar Homolka (billed as Oscar Homolka), in addition to Philip Dorn, Cedric Hardwicke, Rudy Vallee, Barbara O’Neil, Florence Bates, Steve Brown (newcomer Marlon Brando on stage), Edith Evanson, and a puppet-less Edgar Bergen (Candice Bergen’s father).

Harriet Parsons (daughter of gossip columnist Louella Parsons) produced I Remember Mama – Stevens was credited as executive producer – from a screenplay adaptation by DeWitt Bodeen (Cat People, The Enchanted Cottage).

And here’s hoping the I Remember Mama DVD print is – far – superior to the somewhat dark print regularly shown on Turner Classic Movies. Viewers should then be able to fully appreciate the work of master cinematographer Nicholas Musuraca.

Director George Stevens homage: A Filmmaker’s Journey

“After my father died in 1975 someone asked me if I would write a book about him,” George Stevens Jr. told (U.S. public TV station) PBS’s American Masters. “I gave some thought to that, and then it suddenly occurred to me that he was a filmmaker, and I’m a filmmaker – I should make a film about him.”

The film turned out to be the 1984 documentary George Stevens: A Filmmaker’s Journey, shown both on the big screen and on American Masters, and featuring interviews with numerous Stevens collaborators and fellow directors, among them:

  • Actress Katharine Hepburn, whom Stevens directed in three movies: Alice Adams (1935), Woman of the Year (1942) – both of which earned her Best Actress Academy Award nominations – and, in-between, the underrated Quality Street (1937). In the documentary, Hepburn recalls Stevens’ deliberately paced direction of Alice Adams’ comedy highlight, the dinner scene centered on clumsy maid Hattie McDaniel.
  • Actor Cary Grant, featured not only in Gunga Din, but also in Stevens’ Penny Serenade (1941), which earned him a Best Actor Oscar nod, and The Talk of the Town (1942). Only Grant’s voice is heard in George Stevens: A Filmmaker’s Journey, as he had previously told Stevens Jr. that if he was seen on camera, he would also “have to do it for [Alfred Hitchcock], and the others.”
  • Actor-filmmaker Warren Beatty, the male lead in Stevens’ (failed) last effort, The Only Game in Town (1969). In the documentary, Beatty discusses the use of sound in Shane (1953) – guns going off like cannons to exacerbate the brutality of the Old West – and, 14 years later, in the Arthur Penn-directed Bonnie and Clyde.
George Stevens: D-Day to Berlin. Director George Stevens was the head of the U.S. Army Signal Corps’ film unit; with the assistance of cameramen Joseph F. Biroc and William C. Mellor, he succeeded in capturing – in color – key World War II moments.

George Stevens: D-Day to Berlin: Rare World War II color footage

As the head of the U.S. Army Signal Corps’ film unit, director George Stevens – with the assistance of talent like cameramen/cinematographers Joseph F. Biroc (It’s a Wonderful Life, Magic Town) and William C. Mellor (A Place in the Sun, Giant) – captured rare World War II color footage ranging from the invasion of Normandy and the liberation of Paris to the Bavarian concentration camp of Dachau and the fall of Berlin.

Some of that footage is seen in George Stevens Jr.’s 1994 TV documentary George Stevens: D-Day to Berlin, winner of three Emmy Awards, including two for Stevens Jr. himself (as narrator and writer).

Director George Stevens on DVD: Alice Adams & Woman of the Year + Giant

Besides director George Stevens’ upcoming releases Gunga Din and I Remember Mama, Stevens titles already available on DVD include the following:

  • The aforementioned romantic/socially conscious drama Alice Adams, boasting the most poignant performance of Katharine Hepburn’s movie career, plus a marvelous comic turn by future Best Supporting Actress Oscar winner Hattie McDaniel (Gone with the Wind, 1939) as the (Hepburn) family maid.
  • The romantic battle-of-the-sexes comedy Woman of the Year, notable as the first pairing of Katharine Hepburn and Spencer Tracy. Hepburn lost the 1942 Best Actress Oscar to Greer Garson for Mrs. Miniver, but Michael Kanin and future Hollywood Ten member Ring Lardner Jr. were luckier, taking home the Best Original Screenplay statuette.
  • A two-disc set of the 1956 critical and box office hit Giant, starring Elizabeth Taylor, Best Actor Oscar nominees Rock Hudson and (posthumously) James Dean, in addition to Best Supporting Actress nominee Mercedes McCambridge, former child star Jane Withers, Chill Wills, Earl Holliman, and relative newcomers Carroll Baker, Dennis Hopper, Sal Mineo, Rod Taylor, and Elsa Cárdenas. Based on Edna Ferber’s 1952 novel, Stevens’ engrossing, Texas-set mix of romance, family drama, and social commentary earned him his second Best Director Oscar.

“Director George Stevens DVDs” notes

Director George Stevens left Best Picture Oscar-less

[1] Based on Theodore Dreiser’s novel An American Tragedy, director George Stevens’ A Place in the Sun stars Elizabeth Taylor, and Best Actor and Best Actress Oscar nominees Montgomery Clift and Shelley Winters.

The Best Picture Oscar winners of 1951 and 1956 were, respectively, Vincente Minnelli’s musical An American in Paris and Michael Anderson’s adventure comedy-drama Around the World in 80 Days.

Director George Stevens received three other Oscar nominations, for The More the Merrier (1943), Shane (1953), and The Diary of Anne Frank (1959). He lost to Michael Curtiz for Casablanca, Fred Zinnemann for From Here to Eternity, and William Wyler for Ben-Hur. All three movies also won Best Picture.

As the producer of a Best Picture nominee, Stevens was shortlisted for A Place in the Sun, Shane, Giant (with Henry Ginsberg), and The Diary of Anne Frank.


Recommended articles

Update: Below are a few other Alt Film Guide posts about director George Stevens and his movies.


“Director George Stevens” endnotes

Bringing Up Baby’s financial loss to RKO: Richard B. Jewell and Vernon Harbin’s The RKO Story.

Film critic Molly Haskell discussed the Gunga Din-The Front Page connection while chatting with Robert Osborne on Turner Classic Movies.

Cary Grant quote about George Stevens: A Filmmaker’s Journey via George Stevens Jr.’s American Masters interview.

Director George Stevens’ World War II film unit is mentioned in Neil Sinyard’s George Stevens: The Films of a Hollywood Giant.

James Dean and director George Stevens Giant image: Warner Bros.

Cary Grant and Ann Evers Gunga Din image: RKO Pictures.

Irene Dunne in I Remember Mama DVD cover image: Warner Home Video.

George Stevens: D-Day to Berlin image: Warner Home Video / New Line Home Video.

“Director George Stevens DVDs: Pro-Colonialism Classic + Immigrant Nostalgia” last updated in May 2020.

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