by Frank Calvillo
Not too many continued on-screen collaborations between married performers reached the mesmerizing heights of Paul Newman and Joanne Woodward’s. The two, who first appeared in 1958’s The Long Hot Summer and would go on to enjoy one of the longest-lasting marriages in Hollywood history, never failed to unleash onto the screen a copious amount of cinematic fireworks when acting opposite each other. No matter what kind of film they were in, each successive collaboration between the two of them reinforced their strength as actors and helped define what powerful screen chemistry could be. As proven by the recently-released From the Terrace, not even a by-the-numbers potboiler could tarnish the two stars’ luster.
Spanning multiple years (and plots), From the Terrace stars Newman as Alfred Eaton, a soldier who has returned home from the war to reconnect with his wealthy estranged family and make a name for himself. Not long after his arrival, he encounters the fiery Mary St. John (Woodward), a headstrong beauty from a well-to-do family who finds herself taken with him. After a brief courtship leads to marriage, the couple finds themselves eventually growing apart as Alfred’s Wall Street career leaves him questioning what has happened to his life.
If there are two things From the Terrace isn’t short of, its great lines and top production values. This is a visually enchanting film with dazzling colors and stellar production design populating every single frame. Simply put, a film such as From the Terrace is the reason Cinemascope was made in the first place. The sometimes dark content of the story (alcoholism and frank infidelity) is handled with a candid explicitness, making for a great contrast with the lush appearance. Meanwhile, the script by the great Ernest Lehman isn’t short on a number of lines which stand out as thoughtful and poetic such as when Alfred exclaims to his father, “All my life all I’ve ever wanted was to be friends with you,” or when his mother kindly explains to him, “Anyone can disappoint you if you catch them at the wrong time.”
For all that is has working for it, however, From the Terrace cannot help but feel just this side of passe, even by the day’s standards. There are melodramatic twists and turns galore with everything but the kitchen sink thrown in for effect. A couple of characters die; a number of other characters experience gut-wrenching heartache and proceed to fall in love with other characters. The script even throws in a child who has fallen through the ice and must be promptly rescued. It’s a bit odd to see Newman’s otherwise cutting edge and revolutionary acting style being used in a film which clearly feels like it belongs in the previous decade.
There are a number of great character actors turning in fantastic performances including Leon Ames, George Grizzard, Patrick O’Neal, Felix Alymer, Ina Balin, and Myrna Loy, the latter fantastic as Newman’s alcoholic mother.
Yet, as was the case with every film the pair appeared in together, all eyes are on Newman and Woodward. The real-life husband and wife exude such an excellent and natural chemistry when on-screen together, forever calling on one another’s strengths as actors. Even during the numerous scenes when the are at each other’s throats and lashing out at one another, the screen remains sizzling and its all but impossible to turn away.
Even if From the Terrace does take the more conventional way around things, the film’s message of a person finding themselves trapped in a life without ever knowing how they got there in the first place is undeniable. Equally so is the mustering up of the kind of courage necessary to walk away from that kind of life and find the one that truly works. If such themes come across as obvious here, there’s still that sparkling fire of Newman and Woodward, which will always remain a true reason to watch any film featuring two of the explosively entrancing stars of all time.
From the Terrace is now available on Blu-ray from Twilight Time.
