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Written on December 10, 2009 – 8:08 am | by johnniespence1984
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Like a lot of people I first learned the sage of Evelyn Nesbit from the movie version of “Ragtime,” because I did not read “Ragtime” the current. However, when it comes to calling Nesbitt “The Girl in the Red Velvet Swing,” that is something that I associate with “Ragtime - The Musical.” A century later we peer help at Nesbit as having been at the heart of what is clearly the first “trial of the century,” and can designate a definite line from it through the Scopes Trial, the Lindbergh baby case, the O.J. Simpson trial and a host of others. Nesbit was married to Harry K. Thaw, a rich playboy who had become noxious for such antics as riding a horse up the steps of an unique Original York club. But Thaw was obsessed by the fact that Evelyn had once had an affair with Stanford White, the most prominent architect in the country. On June 25, 1906, convinced that White was unexcited after Evelyn, Thaw shot White listless in the roof-garden theater at Madison Square Garden. This was the most famed assassinate case of that ear with the public eagerly following it in both the “yellow” press and the more reputable newspapers. Nesbit was considered the most fine woman in America during the trial and ironically it was a photograph of her that served as the inspiration for Lucy Maud Montgomery’s description of her noted literary creation, Anne of Green Gables.
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Nesbit herself served as a consultant on the 1955 film, “The Girl in the Red Velvet Swing,” which is probably of more interest today because Nesbit is played by a young Joan Collins. Ray Milland plays Stanford White while Farley Granger plays Harry K. Thaw, and even though she is turning in an extremely restrained and subtle performance Collins stands out because the two male leads are even more constrained, whether by the class considerations of their characters or the limitations of their acting ability is debatable. You understand what White and Thaw gaze in Evelyn, but beyond their money there is not great to recommend either of them to the young girl and when she allows herself to be seduced by White you cannot succor but reflect that it is happening because historically it is upright and because the script says it does. Milland is rather bland, but at least Granger does a friendly job of convincing us that his character is dangerously deranged, regardless of what any court of law might rule at this trial.
The production values of director Richard Fleischer’s film are what create it easier to round up on this one in the ruin what with the art direction, area decoration, and costumes are taking advantage of the upper crust circles in which the characters lived. I also assume the glitz allows the film to accumulate away with more inform allusions to sex than you usually gawk in films from this period (tastefully done off camera, of course) . Serene, watching this movie is a bit curious because not only is it a quarter-century before “Dynasty” makes Joan Collins a household name, but it is also a decade before her memorable appearing in “The City on the Edge of Forever” on the current “Star Paddle.” If you did not know this was Joan Collins I do not know if you guess fair by looking at her. However, in the slay this film fails to provoke a valuable response, either emotionally or intellectually, to the peep of Evelyn in the red velvet swing
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In 1907 Nesbit had appeared as herself in a dramatization of the shooting entitled “The Unwritten Law: A Thrilling Drama Based on the Thaw-White Tragedy,” and made several peaceful films between 1914 and 1922. Decades later Collins had reach to the attention of Hollywood in the 1955 Howard Hawks film “Land of the Pharaohs,” and instead of making B-movies in England she was signed by Fox to be their studio’s retort to Elizabeth Taylor. After “The Girl in the Red Velvet Swing” she would star in “Sea Wife” (1957) opposite Richard Burton, “Stopover Tokyo” (1957) starring Robert Wagner, “Rally ‘Round the Flag, Boys!” (1958) with Paul Newman and Joanne Woodward, and “Seven Thieves” (1960) with Edward G. Robinson and Rod Steiger. Whether your are talking about Evelyn Nesbit or Joan Collins, the reason for seeing “The Girl in the Red Velvet Swing” is going to be because of historical interests rather than anything else. But why is she “in” the red velvet swing rather than “on” it? That was my sizable ask at the slay of this film.
Ripped from a turn-of-the-century scandal, THE GIRL IN THE RED VELVET SWING is a entertaining movie starring Joan Collins as Evelyn Nesbit, the young showgirl who found herself at the center of the improper Thaw/White kill trial.
Evelyn Nesbit (Joan Collins) achieves nationwide fame posing for Charles Dana Gibson (Richard Travis), and later becomes romantically linked with renowned architect Stanford White (Ray Milland) . Unwilling to build a scandal by divorcing his wife, Stanford instead enrols Evelyn in an strange boarding school where Evelyn, heartbroken, suffers a nervous breakdown.
Salvation comes in the build of millionaire playboy Harry Kendall-Thaw (Farley Granger) . Seeing no other option, Evelyn reluctantly marries him; but his vicious imagination collected believes White to be a competitor for Evelyn’s treasure. Their violent relationship comes to a terrifying climax when Thaw murders White on the rooftop of Madison Square Garden; Evelyn is then forced to endure a humiliating trial where her personal character is dragged through the mud.
THE GIRL IN THE RED VELVET SWING was originally slated as a musical entitled “The Girl in Pink Tights” and was to have starred Marilyn Monroe as Evelyn Nesbit. When Monroe’s casting proved impossible, the premise of the film was changed to a crime drama and Fox starlet Joan Collins landed the plum lead role. Ray Milland offers a keenly-felt performance as Evelyn’s fatherly lover White, and shares a substantial chemistry with Collins. Farley Granger was astonishing at playing unhinged brooding types, and his performance as Thaw is absorbing to stare. The strong cast also includes Cornelia Otis-Skinner, Gale Robbins, Luther Adler and Glenda Farrell. The Edwardian costume and station designs witness lush in CinemaScope.
THE GIRL IN THE RED VELVET SWING, once one of the rarest movies you could procure on home video or cable, looks simply sensational on DVD. Extra features include scene-specific (and virtually non-existent) audio commentary with film historian Aubrey Solomon, image galleries, restoration comparison, and the trailer.
Also available as fragment of The Joan Collins Superstar Collection (The Girl in the Red Velvet Swing / Rally ‘Round the Flag, Boys! / The Sea Wife / Seven Thieves / Stopover Tokyo)
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Johnnie Spence