The
Children's Hour is set at an exclusive girl's school managed by best friends
Audrey Hepburn and Shirley MacLaine. When student Karen Balkin is punished
for one of her many misdeeds, the mean-spirited youngster rushes to her
wealthy aunt Fay Bainter, and, randomly choosing a phrase she has
undoubtedly lied.
Based
on the 1934 play by Lillian Hellman, The
Children's Hour is set at an exclusive girl's school managed by best
friends Audrey
Hepburn and Shirley
MacLaine. When student Karen
Balkin is punished for one of her many misdeeds, the mean-spirited
youngster rushes to her wealthy aunt Fay
Bainter, and, randomly choosing a phrase she has undoubtedly read in
some magazine, accuses Hepburn
and MacLaine
of having an "unnatural relationship." As Balkin's
lies grow in viciousness, the student's parents withdraw their children from
the school. Hepburn
and MacLaine
sue Bainter
for libel, only to lose their case when MacLaine's
aunt Miriam
Hopkins refuses to testify as a character witness. The trial takes its
toll on the relationship between Hepburn
and her boyfriend James
Garner. When Bainter
discovers that her niece has been lying, she tries to make amends, but it is
too late. Director William
Wyler had also helmed the first film version of Children's
Hour, 1936's These
Three, which due to censorship restrictions of the time did without the
lesbian angle (the little girl's accusations involved a supposed romantic
triangle between the two ladies and a male friend). Miriam
Hopkins, who plays a supporting role in The
Children's Hour, originally essayed the Shirley
MacLaine role in These
Three.
First produced on Broadway in
1934, The Children's Hour is a cross between The Prime of Miss Jean Brodie and
The Crucible, being partly a study of deportment and partly an example of what
happens when a malicious whispering campaign gets out of hand. It is also a
classic, if slightly creaky, example of the American gunshot tragedy, in which
a central character delivers a confessional exit speech, followed by a loud
bang.
It is not often revived, for
the obvious reason that boarding-school plays require a large contingent of
actors with little to do except fill out the classroom scenes. Director Sarah
Frankcom skirts the issue by having the girls eavesdrop on the action
throughout, passing comments that become amplified like Chinese whispers.
Maxine Peake and Charlotte Emmerson portray the teachers implicated in the
scandal with commanding subtlety. But the one to watch is the outstanding
newcomer Kate O'Flynn. Her portrayal of Mary Tilford, the heinous teen at the
heart of the affair, is horribly plausible.
Plot summary
Martha Dobie (MacLaine) and Karen Wright (Hepburn), who met when they
were seventeen and in school together, co-own a school for girls. Karen is
engaged to Joe (Garner), a doctor, and when they finally decide on a date
to wed, because the school is finally making a profit, Martha becomes
jealous.
After overhearing a series of quarrels, a vindictive child named Mary
spreads a rumor that the two women are involved in a lesbian affair.
Martha and Karen's livelihood is ruined as the girls are taken away, the
school is closed, and even Joe begins to question Martha and Karen's
relationship.
Audrey Hepburn and Shirley
MacLaine play a pair of teachers who run an exclusive girls boarding
school for pre-teens. One girl in particular (Karen Balkin) is a trouble
maker who, when sent home with her rich grandmother (Fay Bainter),
concocts a lie to cover her mischief. The girl claims that the two school
marms are lovers and the busybody grandma is too dull to see through the
little girl's obvious manipulations. She spreads the word to all the
families and soon all the girls are pulled out of the school, leaving the
two women pariahs with no source of income. When confronted, the little
girl implicates another girl in her lie to cover a slip up and it's given
because she threatens to reveal the girl's hidden secret.
The women's world is
shattered and as time goes on even they believe the lie may have some
truth to it after their libel suit fails because the prize witness,
MacLaine's ditzy aunt (Miriam Hopkins), who could refute the lie, fails to
appear in court. Audrey Hepburn abandons her upcoming marriage to her long
term boyfriend played by James Garner and finally the truth comes out when
the corroborating girl is found by her mother to be a kleptomaniac and
supporting the liar because of fear of exposure. The old busybody
grandmother apologizes and tries to make things right but too many
feelings have been wounded. MacLaine ultimately makes a half hearted
confession of "feelings" for Hepburn and hangs herself in
remorse.
Production
The play was originally filmed under the title
These
Three in 1936
but the strictures of the Production
Code resulted in an adaptation of the story into a conventional heterosexuallove
triangle. By 1961 the Code allowed for the alleged lesbian affair
between Hepburn's and MacLaine's characters but references to it were
allusionary and non-specific.
In an interview for the documentaryThe
Celluloid Closet (1996), Shirley
MacLaine said she and Hepburn never talked about their characters'
alleged lesbianism.
She also claimed Wyler cut some scenes hinting at her character's love for
Hepburn because of concerns about press reaction to the film.
The movie was James Garner's first film after suing
Warner
Bros. to leave the television series Maverick
and break into movies. Wyler broke an unspoken blacklist by hiring Garner
and the actor appeared steadily in films and television shows over the
following decades.
Miriam Hopkins, who plays Aunt Lily Mortar in the 1961 film, had
starred as Martha Dobie in These Three, the earlier screen
adaptation of the play.
The film was nominated for five
Academy
Awards in 1962,
including Best Cinematography, Best Costume Design, and Best Actress in a
Supporting Role (Fay
Bainter). It was also nominated for three Golden
Globes in the same year, including Best Motion Picture Director and
Best Motion Picture Actress - Drama (Shirley
MacLaine).
Excerpt
Martha:
There's always been something wrong. Always, just as long as I
can remember. But I never knew what it was until all this happened.
Karen: Stop it Martha! Stop this crazy talk!
Martha: You're afraid of hearing it, but I'm more afraid than you.
Karen: I won't listen to you!
Martha: No! You've got to know. I've got to tell you. I can't keep it to
myself any longer. I'm guilty!
Karen: You're guilty of nothing!