Of Human Bondage


1h 38m 1964
Of Human Bondage

Brief Synopsis

A medical student risks his future when he falls for a low-class waitress.

Film Details

Genre
Drama
Adaptation
Release Date
Jan 1964
Premiere Information
Detroit opening: 2 Sep 1964
Production Company
Seven Arts Productions
Distribution Company
Metro-Goldwyn-Mayer, Inc.
Country
United Kingdom
Location
Ardmore Studios, Dublin, Ireland
Screenplay Information
Based on the novel Of Human Bondage by W. Somerset Maugham (London, 1915).

Technical Specs

Duration
1h 38m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
1.85 : 1

Synopsis

Philip Carey, a young man sensitive about his clubfoot, arrives in Edwardian London to study medicine after 2 years of failure as an artist in Paris. He becomes friendly with fellow students Griffiths and Mathews and falls in love with Mildred, a Cockney waitress who is impressed by his social superiority. Philip proposes to Mildred, but she announces her intention to marry a man named Miller. Soon thereafter, Philip accompanies Griffiths to a party and meets Norah, a widow, who returns his attentions. Under Norah's influence, Philip becomes successful in his studies, but soon Mildred, pregnant, unmarried, and deserted by Miller, returns. Philip forgets about Norah and takes Mildred in until her baby arrives. After the birth, Philip, Mildred, and Griffiths celebrate, but Mildred begins a flirtation with Griffiths. She and Philip quarrel when she shows him Griffiths' love letters; and, after telling Philip that his crippled foot has always revolted her and that her only interest in him was financial, Mildred leaves. Philip passes his final examinations and, during his internship, becomes friendly with Thorpe Athelny, a patient, and his daughter Sally. Philip learns that Mildred has become a prostitute, and he takes her, now a travesty of her former self, and her baby out of the brothel where they live and installs them in his flat. Finding she can no longer interest Philip, Mildred destroys everything valuable in the apartment and leaves again. She returns to prostitution; her baby dies; and she is admitted to the hospital where Philip works. It is discovered that she is incurably ill with syphilis. She dies in Philip's arms after asking for a proper funeral. Philip buries her in the style she wished and, despondent, decides to return to his artist's studio in Paris. But as his boat-train leaves the station, he looks up to find Sally standing over him.

Film Details

Genre
Drama
Adaptation
Release Date
Jan 1964
Premiere Information
Detroit opening: 2 Sep 1964
Production Company
Seven Arts Productions
Distribution Company
Metro-Goldwyn-Mayer, Inc.
Country
United Kingdom
Location
Ardmore Studios, Dublin, Ireland
Screenplay Information
Based on the novel Of Human Bondage by W. Somerset Maugham (London, 1915).

Technical Specs

Duration
1h 38m
Sound
Mono
Color
Black and White
Theatrical Aspect Ratio
1.85 : 1

Articles

Of Human Bondage (1964)


Every once in a while some filmmaker decides to remake a proven audience favorite, adding their own twist to it or updating it for contemporary audiences. This is most prevalent with films featuring strong female characters such as Rain, in which a prostitute named Sadie Thompson clashes with a minister bent on reforming her, Stella Dallas, and Of Human Bondage. In fact, the latter film, based on W. Somerset Maugham's literary classic, has enjoyed three incarnations; first with Bette Davis and Leslie Howard in 1934, one in 1946 with Eleanor Parker and Paul Henreid, and a 1964 version with Kim Novak and Laurence Harvey.

For those in need of a refresher course on the plot, it goes like this: A medical student named Philip Carey arrives in London after failing to support himself as an artist in Paris. Despite his aristocratic upbringing, Philip suffers from a terrible inferiority complex due to a club foot. Nevertheless, he pursues a Cockney waitress he meets in a tea room and begins an obsessive, self-destructive affair with her.

While most film scholars cite the Bette Davis version as the best adaptation of Maugham's novel, the Kim Novak version of Of Human Bondage (1964) is definitely worth a look for the evocative cinematography of Oswald Morris (Oliver!, 1968) and the production design of John Box (Lawrence of Arabia, 1962) which perfectly captures Edwardian London (filmed at Ardmore Studios near Dublin) with its gas lit streets and dank slum bordellos. The film is also something of a curiosity piece since it was rumored Kim Novak and Laurence Harvey loathed each other on the set and no less than three directors worked on it - Henry Hathaway, Bryan Forbes (he even appears in an uncredited cameo as a medical student and his wife, Nanette Newman, appears in a key role), and Ken Hughes.

Only Ken Hughes, however, receives the director screen credit for Of Human Bondage despite the contributions of Bryan Forbes and Henry Hathaway. The latter left the production in the early stages of filming and was only responsible for a handful of scenes. However, it is interesting to consider what Hathaway might have done with the subject matter, which was far removed from the sort of film he usually directed - Westerns. Between 1965 and 1969, he directed The Sons of Katie Elder (1965), Nevada Smith (1966), Five Card Stud, (1968) and True Grit (1969) which won John Wayne the Best Actor Oscar®. The latter was the last career high point for Hathaway although he did contribute some additional scenes to Airport (1970) for director George Seaton and directed a final Western - Shootout (1971) - before retiring from the film industry in 1975.

Producer: James Woolf
Director: Bryan Forbes, Ken Hughes, Henry Hathaway
Screenplay: Bryan Forbes
Production Design: John Box
Cinematography: Oswald Morris
Costume Design: Beatrice Dawson
Film Editing: Russell Lloyd
Original Music: Ron Goodwin
Cast: Kim Novak (Mildred Rogers), Laurence Harvey (Philip Carey), Robert Morley (Dr.Jacobs), Siobhan McKenna (Nora Nesbitt), Roger Livesey (Thorpe Athelney), Nanette Newman (Sally Athelney), Jack Hedley (Griffiths).
BW-100m. Letterboxed. Closed captioning.

by Jeff Stafford
Of Human Bondage (1964)

Of Human Bondage (1964)

Every once in a while some filmmaker decides to remake a proven audience favorite, adding their own twist to it or updating it for contemporary audiences. This is most prevalent with films featuring strong female characters such as Rain, in which a prostitute named Sadie Thompson clashes with a minister bent on reforming her, Stella Dallas, and Of Human Bondage. In fact, the latter film, based on W. Somerset Maugham's literary classic, has enjoyed three incarnations; first with Bette Davis and Leslie Howard in 1934, one in 1946 with Eleanor Parker and Paul Henreid, and a 1964 version with Kim Novak and Laurence Harvey. For those in need of a refresher course on the plot, it goes like this: A medical student named Philip Carey arrives in London after failing to support himself as an artist in Paris. Despite his aristocratic upbringing, Philip suffers from a terrible inferiority complex due to a club foot. Nevertheless, he pursues a Cockney waitress he meets in a tea room and begins an obsessive, self-destructive affair with her. While most film scholars cite the Bette Davis version as the best adaptation of Maugham's novel, the Kim Novak version of Of Human Bondage (1964) is definitely worth a look for the evocative cinematography of Oswald Morris (Oliver!, 1968) and the production design of John Box (Lawrence of Arabia, 1962) which perfectly captures Edwardian London (filmed at Ardmore Studios near Dublin) with its gas lit streets and dank slum bordellos. The film is also something of a curiosity piece since it was rumored Kim Novak and Laurence Harvey loathed each other on the set and no less than three directors worked on it - Henry Hathaway, Bryan Forbes (he even appears in an uncredited cameo as a medical student and his wife, Nanette Newman, appears in a key role), and Ken Hughes. Only Ken Hughes, however, receives the director screen credit for Of Human Bondage despite the contributions of Bryan Forbes and Henry Hathaway. The latter left the production in the early stages of filming and was only responsible for a handful of scenes. However, it is interesting to consider what Hathaway might have done with the subject matter, which was far removed from the sort of film he usually directed - Westerns. Between 1965 and 1969, he directed The Sons of Katie Elder (1965), Nevada Smith (1966), Five Card Stud, (1968) and True Grit (1969) which won John Wayne the Best Actor Oscar®. The latter was the last career high point for Hathaway although he did contribute some additional scenes to Airport (1970) for director George Seaton and directed a final Western - Shootout (1971) - before retiring from the film industry in 1975. Producer: James Woolf Director: Bryan Forbes, Ken Hughes, Henry Hathaway Screenplay: Bryan Forbes Production Design: John Box Cinematography: Oswald Morris Costume Design: Beatrice Dawson Film Editing: Russell Lloyd Original Music: Ron Goodwin Cast: Kim Novak (Mildred Rogers), Laurence Harvey (Philip Carey), Robert Morley (Dr.Jacobs), Siobhan McKenna (Nora Nesbitt), Roger Livesey (Thorpe Athelney), Nanette Newman (Sally Athelney), Jack Hedley (Griffiths). BW-100m. Letterboxed. Closed captioning. by Jeff Stafford

Quotes

Trivia

Notes

Opened in London in November 1964. Director Henry Hathaway resigned after shooting some footage; he was replaced temporarily by Bryan Forbes and finally by Kenneth Hughes. Previously filmed in 1934 (R.K.O.) and 1946 (Warner Bros.).

Miscellaneous Notes

Released in United States June 1964

Released in United States Summer September 2, 1964

Shown at Berlin International Film Festival June 1964.

Third filmed adaptation of the novel.

Director Henry Hathaway resigned from the film after shooting some footage and was replaced temporarily by Bryan Forbes and finally by Ken Hughes.

Released in United States June 1964 (Shown at Berlin International Film Festival June 1964.)

Released in United States Summer September 2, 1964