Watch Kind Lady For Free

That was an excellent one.

Thanks for the memories!

best movie i've ever seen.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Directed by John Sturges, this unassuming thriller stars Ethel Barrymore, Maurice Evans, Angela Lansbury, Keenan Wynn, Betsy Blair, John Williams and Doris Lloyd. Edward Chodorov wrote the original play (from a Hugh Walpole story), and the screenplay with Charles Bennett and Jerry Davis.It's Christmas-time and Mary Herries (Barrymore) asks her live-in maid Rose (Lloyd) to give the carolers some money. Mr. Foster (Williams), the bank's new representative, has some business to attend to with Mrs. Herries. After it's concluded, she gives him a gift to pass along to the former representative and asks what he would like for Christmas. He declines but she insists that it will be a book. Another gentleman knocks on the door and asks Rose about the door knocker. She summons Mrs. Herries who confirms that the knocker was made by an Italian artist. She asks how he knew and he replies that he's an artist too.The next day, Mrs. Herries notices the artist in the park across the street. She walks to him and notices that he's painting her home's facade. She comments that his work is satisfactory and asks to see some of his paintings. After she returns home, the artist introduces himself as Henry Elcott (Evans); he has brought three of his paintings, which he to show her while noticing her wonderful furnishings and a fancy cigarette case. When she turns to ring for Rose, he pockets the case and then rushes out, leaving his paintings behind. Mrs. Herries notices the case's missing.Later at a bookstore, Elcott returns Mrs. Herries's cigarette case, apologizes for taken it saying that he pawned it but, after selling a painting, was able to return it. Being the forgiving woman that she is, Mrs. Herries then goes to Elcott's squalid apartment where she learns that he paints while another woman takes care of their infant and his wife works. Mrs. Herries thinks this is a despicable, tells him so and leaves. Later Elcott receives 25 pounds from Mrs. Herries; he shows it to his wife Ada (Blair) as proof of his painting's value.Elcott shows up at Mrs. Herries home again, toting a painting of his wife, whom he says is with their child across the street. When he points them out, Ada stands and faints. They all rush to Ada, then carry her and the baby inside. A doctor enters the home and diagnoses that Ada has pneumonia and shouldn't be moved. Mrs. Herries tells Elcott to take Ada to the bedroom upstairs. After another visit from the doctor, Mrs. Herries is told that Ada's recovery might take a couple of weeks; Elcott then escorts the doctor out.After a few days, the cook quits telling Rose that she should too. She can't stand Elcott, who's become a bossy resident with his wife. Mrs. Herries is visited by her niece Lucy, who notes that Elcott is painting her aunt's picture for her hospitality. After she leaves, Ada's 'family' the Edwards arrive - Mr. (Wynn) and Mrs. Edwards (Lansbury), and their ill-behaved daughter - with bags in hand! Rose reports this, and the cook's departure, to Mrs. Herries who has finally figured things out. She tells Rose to call a nursing home to send an ambulance to come get Ada, and not to be frightened. Elcott enters to introduce the Edwards family and finds that she's wise to the situation. However, it's too late: Mrs. Edwards secures Mrs. Herries in a sitting position on her bed while Edwards catches Rose calling the nursing home. Mrs. Edwards cancels the call, and the takeover is complete.Behind a cover story that Mrs. Herries is losing her mind, Elcott satisfies the local constables that she must be moved to the country. This makes the selling of her home's antiques acceptable and accounts for any screaming that might be heard. Rose has been locked in her quarters. Edwards becomes the butler while his wife replaces the cook. Eventually, Ada assists too. But Mrs. Herries refuses to sign a power of attorney for Elcott. In order to make Mrs. Herries realize the hopelessness of her predicament, Elcott invites an art dealer to visit her and price her paintings. She slips him a note but he returns it to Elcott on his way out (he'd been told she was crazy). When Rose's family shows up, Elcott is quick to invent a story that she'd left with a married man, and pays them Rose's back wages to seal the deal. Mr. Foster, asked to secure a buyer for the home, is the only one who has any doubts.To escape her predicament, Mrs. Herries begins to work on Ada. She then pays Mrs. Edwards 200 pounds for the key to Rose's room. Edwards is upset that his wife wants to leave the setup. Meanwhile, Mr. Foster communicates his doubts to his boss, but his superior is reluctant to accept them. Ada is convinced to unlock Rose's door, but she is caught escaping and is killed by Edwards. When Mr. Foster calls to request a meeting, Elcott realizes his gig is about up and instructs Edwards to eliminate the old lady. Edwards finds her positioned in her wheelchair in front of an open window, rushes into the room, and pushes her out the window. Mr. Foster and the constables rush to the scene while Edwards rushes downstairs to join his wife and Elcott. Suddenly, the living room doors are thrust open by Mrs. Herries, who has Ada behind her. It was Rose's dead body that was pushed out the window. Mrs. Herries opens the door to allow Mr. Foster and the constables to enter and arrest the guilty.

The stage play opened at the Booth on 23 April 1935 and ran a successful 99 performances. Grace George played the spinster and Henry Daniell the sinister fortune-hunter. H.C. Potter directed. M-G-M acquired the rights and made the first film version in 1935 with Aline MacMahon and Basil Rathbone. This second version was nominated for an Academy Award for Best Costume Design in black-and-white, losing to Edith Head's "A Place in the Sun".Although produced on a "B" budget, this is a solidly engrossing movie thanks to a charismatically sympathetic performance by Ethel Barrymore and solid support from the likes of Betsy Blair, Angela Lansbury and Keenan Wynn. As the instigator of the sting, Maurice Evans has been taken to task for being a little too gentlemanly in his approach, but that that surely is a virtue rather than a fault. We, the audience, join Ethel Barrymore's ultra-sympathetic Mary Herries as innocent victims of his surprising duplicity. Assisted by Joseph Ruttenberg's superlatively moody photography, director John Sturges conjures up a tingling atmosphere throughout with a sure hand, extracting every bit of tension from a script that gradually turns the screws and adroitly piles suspense on suspense right up to the unnerving fade-out.

Kind Lady (1951) ** 1/2 (out of 4) Remake of the 1935 thriller has Ethel Barrymore taking the role of Mary Herries, the kind woman who takes in a stranger (Maurice Evans) who turns out to be a psycho. Soon he and his cronies have Herries trapped inside her own home as they plan on taking everything she has. It should be noted that I watched this film less than 24-hours after watching the original one and I must say that both versions are fairly close in quality but I'd probably join a minority in prefering the original one. Both have the same high points as well as some of the same lows but in the end I think the first film did a tad bit more with the material. The one thing that really bothered me here is that the "plot" to show Herries as being crazy struck me as a tad bit unbelievable as I never once believed that many of the supporting players would be so stupid as to believe the story being thrown at them by the Evans character. Both films handle this in the same fashion but here it just struck me as a bit sloppy. With that said, this film does offer up some very good performances with Barrymore clearly stealing the film as the kind woman who begins to suffer for being too trusting. She's quite believable in the role and makes for an entertaining character. Evans, a famous Shakespearean actor who was lured to Hollywood for this film, also manages to be quite good but I'd give this edge to Basil Rathbone in the original. Angela Lansbury, Keenan Wynn and MARTY's Betsy Blair round out the supporting cast. Sturges does a better job in the directing category but he's certainly far off from his greatest work. With that said, both versions of the film are decent thrillers and I'm sure it will be a toss up on which one people prefer. For me, both were worth watching but if I had to sit through one again it would be the original.

Understated acting makes this production a gem. In the present world movie making is so slipshod as far as plots are concerned; however, I highly recommend this movie - the 1951 version - to anyone who loves old movies. Isn't Ethel Barrymore wonderful? and Maurice Evans is scary. Did anyone pick up on the fact that Rose's sister, Mrs. Harkley, is actually Angela Lansbury's mother, Moyna MacGill? I heartily recommend this wonderful movie.