Clyde Griffiths/George Eastman (Phillips Holmes v. Montgomery Clift). Unknown today, Holmes was the son of the better recognized Taylor Holmes (see e.g. Nightmare Alley). In AAT, his youthful good looks, amateur-like acting style and inexperience in film were used to advantage by director Josef Von Sternberg in creating a shallow, weak, amoral young man whose internal behavior compass hardly ever was functional. As he drifted from one crisis to another, it became increasingly evident that he would not grow as a person into a decent human being. Holmes brought Griffiths to life in a plausible and natural way. Clift seems to have created his George Eastman character internally as a cerebral rather than emotional effort. It is a carefully constructed performance--quite the opposite of the understated one played by Holmes. As Clift became George, he somehow also morphed into a sympathetic and pathetic character--a victim of his social class. I have always felt that Clift developed an essentially unrealistic character while Holmes WAS Clyde Griffiths.
Roberta Alden/Alice Tripp (Sylvia Sidney v. Shelley Winters). These roles were presented as very different characters in the two versions of the story. Sidney gave us a sympathetic and likable young woman who was attractive and appealing. On the other hand, Winters played Alice as an annoying, shrill and off-putting person who also happened to be physically unappealing. Some of this emphasis had to come from Winters and not just the script. We certainly liked Alice less than Roberta, and this had to affect how we reacted to what happened to each woman. George Stevens directed a film that was more melodramatic than AAT, and the Alice character was drawn to reinforce that emphasis. Sidney and Winters were both highly competent actresses, but Sidney was better at generating empathy from the audience. We react with a greater sense of loss upon learning what happens to her on the lake that fateful day.
Sondra Finchley/Angela Vickers (Frances Dee v. Elizabeth Taylor). The presentation of these two characters is probably the starkest difference between the two versions---not so much in terms of how each is drawn but in their overall emphasis and significance to the plot development. Dee's Sondra is essentially a minor player, who has a few scenes to establish herself and then disappears from the latter part of the story. On the other hand, Stevens lavishes considerable viewing time and memorable camera closeups on Taylor---who was then in her early twenties and at the peak of her extraordinary beauty. Dee was a lovely and talented actress to be sure, but for whatever reason, she was not given the opportunity to present herself to full advantage. The romantic chemistry between Taylor and Clift was obviously positive, whereas Dee and Holmes merely played scenes together that did not project anything like the same emotion. Clift and Taylor went on to become good friends in real life. As far as we know, this did not happen to Dee and Holmes.
District Attorney Mason/District Attorney Marlowe (Irving Pichel v. Raymond Burr). Pichel went on to become a well known character actor and later a credible director. Burr reached the peak of his popularity a few years later playing Perry Mason on television. Both actors used their opportunity to play the District Attorney in a rather florid and stylized manner that at times seemed almost "over the top." It is interesting to watch Burr chewing the scenery in APITS, and contrast that performance with his measured and contained efforts as defense attorney Mason. And compare Pichel's histrionics here with his subsequent modest effort in Dracula's Daughter (1936).
Mrs. Asa Griffiths/Hannah Eastman (Lucille La Verne v. Anne Revere). La Verne is virtually unknown today, but she will always be remembered as the voice of the Wicked Queen in Snow White And The Seven Dwarfs (1937). She also had a memorable bit as one of the more vocal harridans of the Guillotine watching crowd in A Tale Of Two Cities (1935). Revere was a popular character actress for many years, and specialized in playing strong maternal roles. She was Blacklisted shortly after appearing in APITS, and was not seen in another Hollywood film until 19 years later in 1970. Both were fine here in their respective roles.
AAT And APITS are so different that it is quite difficult to compare them with each other. In this respect, we can draw an analogy to the two film versions of Waterloo Bridge. The earlier one (directed by James Whale) was simpler, grittier and more true to the original source material. The latter one (directed by Mervyn Le Roy) reflected higher production values, a glossy melodramatic story line and a "smoothing of the rough edges)". Take your pick!
Roberta Alden/Alice Tripp (Sylvia Sidney v. Shelley Winters). These roles were presented as very different characters in the two versions of the story. Sidney gave us a sympathetic and likable young woman who was attractive and appealing. On the other hand, Winters played Alice as an annoying, shrill and off-putting person who also happened to be physically unappealing. Some of this emphasis had to come from Winters and not just the script. We certainly liked Alice less than Roberta, and this had to affect how we reacted to what happened to each woman. George Stevens directed a film that was more melodramatic than AAT, and the Alice character was drawn to reinforce that emphasis. Sidney and Winters were both highly competent actresses, but Sidney was better at generating empathy from the audience. We react with a greater sense of loss upon learning what happens to her on the lake that fateful day.
Sondra Finchley/Angela Vickers (Frances Dee v. Elizabeth Taylor). The presentation of these two characters is probably the starkest difference between the two versions---not so much in terms of how each is drawn but in their overall emphasis and significance to the plot development. Dee's Sondra is essentially a minor player, who has a few scenes to establish herself and then disappears from the latter part of the story. On the other hand, Stevens lavishes considerable viewing time and memorable camera closeups on Taylor---who was then in her early twenties and at the peak of her extraordinary beauty. Dee was a lovely and talented actress to be sure, but for whatever reason, she was not given the opportunity to present herself to full advantage. The romantic chemistry between Taylor and Clift was obviously positive, whereas Dee and Holmes merely played scenes together that did not project anything like the same emotion. Clift and Taylor went on to become good friends in real life. As far as we know, this did not happen to Dee and Holmes.
District Attorney Mason/District Attorney Marlowe (Irving Pichel v. Raymond Burr). Pichel went on to become a well known character actor and later a credible director. Burr reached the peak of his popularity a few years later playing Perry Mason on television. Both actors used their opportunity to play the District Attorney in a rather florid and stylized manner that at times seemed almost "over the top." It is interesting to watch Burr chewing the scenery in APITS, and contrast that performance with his measured and contained efforts as defense attorney Mason. And compare Pichel's histrionics here with his subsequent modest effort in Dracula's Daughter (1936).
Mrs. Asa Griffiths/Hannah Eastman (Lucille La Verne v. Anne Revere). La Verne is virtually unknown today, but she will always be remembered as the voice of the Wicked Queen in Snow White And The Seven Dwarfs (1937). She also had a memorable bit as one of the more vocal harridans of the Guillotine watching crowd in A Tale Of Two Cities (1935). Revere was a popular character actress for many years, and specialized in playing strong maternal roles. She was Blacklisted shortly after appearing in APITS, and was not seen in another Hollywood film until 19 years later in 1970. Both were fine here in their respective roles.
AAT And APITS are so different that it is quite difficult to compare them with each other. In this respect, we can draw an analogy to the two film versions of Waterloo Bridge. The earlier one (directed by James Whale) was simpler, grittier and more true to the original source material. The latter one (directed by Mervyn Le Roy) reflected higher production values, a glossy melodramatic story line and a "smoothing of the rough edges)". Take your pick!