The River (1951)

97 or 99 mins | Allegory | 1951

Director:

Jean Renoir

Producer:

Kenneth McEldowney

Cinematographer:

Claude Renoir

Editor:

George Gale

Production Designer:

Eugene Lourie
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HISTORY

The opening title card reads "A Presentation of The Theatre Guild Kenneth McEldowney Presents," followed by selected cast members and continues with "In Jean Renoir's Production of Rumer Godden's The River." M. A. Partha Sarathy's onscreen credit reads "music and technical advisor." The River was based on English novelist, poet and screenplay author Rumer Godden's experience growing up in India. Running narration spoken by June Hillman as Godden, guides the story, introduces all documentary footage and quotes the author's childhood and adult poetry. A 15 Dec 1948 HR article notes that The River was the first effort by any Hollywood company to produce a film in India for American release. According to a 30 Nov 1949 NYT article, five maharajahs assisted in financing the film.
       In his autobiography, director Jean Renoir explained that after he bought the rights to the novel The River, he was approached by Kenneth McEldowney (1906—2004) to make the film. McEldowney, a florist and World War II veteran who had served in India, was inspired by the novel to create his production company, Oriental-International Films. The 16 Jan 2004 LAT obituary for McEldowney noted that the producer’s wife, an M-G-M publicist, dared her husband to make a film after he had complained about one of her studio’s pictures. Selling his chain of floral shops, McEldowney worked on the production from 1947 to 1951. The River was the first and only movie for the producer, who then turned to real estate.
       LAT articles note that Brian Donlevy was considered for a lead role. According to Dec 1948 LAT ...

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The opening title card reads "A Presentation of The Theatre Guild Kenneth McEldowney Presents," followed by selected cast members and continues with "In Jean Renoir's Production of Rumer Godden's The River." M. A. Partha Sarathy's onscreen credit reads "music and technical advisor." The River was based on English novelist, poet and screenplay author Rumer Godden's experience growing up in India. Running narration spoken by June Hillman as Godden, guides the story, introduces all documentary footage and quotes the author's childhood and adult poetry. A 15 Dec 1948 HR article notes that The River was the first effort by any Hollywood company to produce a film in India for American release. According to a 30 Nov 1949 NYT article, five maharajahs assisted in financing the film.
       In his autobiography, director Jean Renoir explained that after he bought the rights to the novel The River, he was approached by Kenneth McEldowney (1906—2004) to make the film. McEldowney, a florist and World War II veteran who had served in India, was inspired by the novel to create his production company, Oriental-International Films. The 16 Jan 2004 LAT obituary for McEldowney noted that the producer’s wife, an M-G-M publicist, dared her husband to make a film after he had complained about one of her studio’s pictures. Selling his chain of floral shops, McEldowney worked on the production from 1947 to 1951. The River was the first and only movie for the producer, who then turned to real estate.
       LAT articles note that Brian Donlevy was considered for a lead role. According to Dec 1948 LAT and HR news items, preproduction background shooting was done by cameramen Clyde DeVinna , Henry Hartman, Forrest Judd and Phil Ellison, but their contribution to the final film has not been confirmed. Renoir's autobiography noted that several amateur actors were used in the production, including Patricia Walters and Radha. Radha's real name was Radha Sri Ram and according to a 1 Feb 1951 LAT article, she was a professional South India classical style dancer and a theosophy scholar. According to Renoir's letters, as reprinted in a modern source, Judd, who is credited onscreen as assistant to Renoir, also acted as assistant director and associate producer and was responsible for casting several of the principal actors.
       Renoir's letters also noted the following information about the cast and crew: Several people were considered for head cameraman including Eugene Shuftan, but the director chose his nephew, Claude Renoir. During shooting, Carl Koch viewed the daily Technicolor rushes in London as no Technicolor processing was available in India. The River was Renoir's first Technicolor film. He then telegraphed Renoir, advising him on reshooting before shipping the film back to India. In order to insure English publicity, Renoir endeavored to make the picture an English quota picture, which required that he employ, on salary, 75% of cast and crew who were British Commonwealth citizens. This caused many changes in cast and crew and limited American employment.
       According to a 30 Nov 1949 NYT article, the film was primarily shot on location at the Hooghly River, a branch of the Ganges, in Calcutta, India. A 25 Jun 1951 LAT article notes, and the print viewed confirms, that The River includes actual footage of a Kali Puja ceremony, the Holi Day festival of spring, the operation of a jute press, native Indian dance and music and other Indian cultural phenomena. A 28 Mar 1950 HR article mentions that some shooting was to take place at the Eastern Talkie Studios, also in Calcutta, but Renoir's letters do not confirm that shooting took place there.
       The film was included in the NY Film Critics "ten best" list for 1951 and received the 1951 Venice Biennale's First International Prize and an "Award of Excellence" from Modern Photography magazine, the first award of its kind given by a photo publication.

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GEOGRAPHIC LOCATIONS
PERSONAL & COMPANY INDEX CREDITS
HISTORY CREDITS
CREDIT TYPE
CREDIT
SOURCE CITATIONS
SOURCE
DATE
PAGE
Box Office
22 Sep 1951
---
Daily Variety
7 Sep 1951
---
Hollywood Reporter
15 Dec 1948
---
Hollywood Reporter
16 Dec 1949
---
Hollywood Reporter
27 Jan 1950
p. 18
Hollywood Reporter
10 Mar 1950
p. 8
Hollywood Reporter
28 Mar 1950
p. 4
Hollywood Reporter
5 May 1950
p. 12
Hollywood Reporter
19 Nov 1951
---
Hollywood Reporter
12 Jan 1951
---
Life
5 Nov 1951
---
Los Angeles Times
15 Dec 1948
---
Los Angeles Times
16 Apr 1949
---
Los Angeles Times
25 Jun 1950
---
Los Angeles Times
1 Feb 1951
---
Los Angeles Times
8 Apr 1951
---
Los Angeles Times
14 Oct 1951
---
Los Angeles Times
9 Mar 1980
---
Los Angeles Times
16 Jan 2004
p. B11
Motion Picture Daily
20 Sep 1951
---
New York Times
30 Nov 1949
---
New York Times
10 Sep 1951
p. 18
New Yorker
15 Sep 1951
---
Newsweek
24 Sep 1951
---
Time
24 Sep 1951
---
Variety
12 Sep 1951
p. 6
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
A Presentation of the Theatre Guild
A Presentation of The Theatre Guild, Jean Renoir's Production
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
Asst dir
Asst dir
WRITERS
PHOTOGRAPHY
Dir of photog
ART DIRECTORS
Prod des
FILM EDITOR
Film ed
SOUND
Sd eng
PRODUCTION MISC
Prod mgr
Asst to Mr. Renoir
SOURCES
LITERARY
Based on the novel The River by Rumer Godden (London, 1946).
LITERARY SOURCE AUTHOR
DETAILS
Alternate Title:
Rumer Godden's The River
Release Date:
1951
Premiere Information:
New York premiere: 10 Sep 1951; Los Angeles premiere: 16 Oct 1951
Production Date:
late Dec 1949--early May 1950 at Eastern Talkie Studios, Calcutta, India
Copyright Info
Claimant
Date
Copyright Number
Oriental-International Films, Inc.
10 September 1951
LP1475
Physical Properties:
Sound
Color
Technicolor
Duration(in mins):
97 or 99
Length(in feet):
8,865
Countries:
India, United States
Language:
English
SYNOPSIS

Spunky prepubescent poet Harriet, the oldest girl in an English family of five children, tells the story of her first love along the banks of a holy river in India in the years following the end of World War I. Her father is in charge of the local jute press and her mother and nurse Nan attend to the children, keeping them amused with games and toys at the "Big House." When Capt. John, a veteran who lost a leg in the war, comes to visit his cousin and Harriet's neighbor, Mr. John, all the children, including Mr. John's teenage daughter Melanie and their wealthy eighteen-year-old neighbor Valerie, are excited by his presence. During the Diwali Festival of lights celebration at the Big House, Valerie piques the captain's interest by flirting with him throughout the evening. Later Mr. John, a widower and English expatriate, speaks with Melanie, his only child by his Indian wife. Melanie has just returned home from her western school and is expected to marry wealthy local Anil, her intended fiancé since childhood. Melanie questions her English heritage and, though she wants to embrace Indian traditions, refuses to see Anil. Mr. John tells her that Anil can provide for her better than he can, but Melanie does not want more. Meanwhile the proud captain, having come to India to escape the pity he receives because of his handicap, meanders the banks of the river and contemplates his choices in life as a man with only one leg. When he takes a rest, Harriet, who has been surreptitiously following him through the bazaar, shows him her secret book of poems. The captain is impressed, but Valerie soon ...

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Spunky prepubescent poet Harriet, the oldest girl in an English family of five children, tells the story of her first love along the banks of a holy river in India in the years following the end of World War I. Her father is in charge of the local jute press and her mother and nurse Nan attend to the children, keeping them amused with games and toys at the "Big House." When Capt. John, a veteran who lost a leg in the war, comes to visit his cousin and Harriet's neighbor, Mr. John, all the children, including Mr. John's teenage daughter Melanie and their wealthy eighteen-year-old neighbor Valerie, are excited by his presence. During the Diwali Festival of lights celebration at the Big House, Valerie piques the captain's interest by flirting with him throughout the evening. Later Mr. John, a widower and English expatriate, speaks with Melanie, his only child by his Indian wife. Melanie has just returned home from her western school and is expected to marry wealthy local Anil, her intended fiancé since childhood. Melanie questions her English heritage and, though she wants to embrace Indian traditions, refuses to see Anil. Mr. John tells her that Anil can provide for her better than he can, but Melanie does not want more. Meanwhile the proud captain, having come to India to escape the pity he receives because of his handicap, meanders the banks of the river and contemplates his choices in life as a man with only one leg. When he takes a rest, Harriet, who has been surreptitiously following him through the bazaar, shows him her secret book of poems. The captain is impressed, but Valerie soon distracts him with a confession of her fondness for him and Harriet storms off. On the Big House grounds, Bogey, Harriet's only brother, and his best friend Kanu climb the garden wall to chase a snake they have spotted in the roots of a banyan, a sacred tree where Hindu women leave milk to pray for the blessing of a son. Meanwhile Mr. John tells his daughter that by being a child of both Indian and Western heritage, he fears she will be unable to assimilate into either culture. Smiling, the philosophical Melanie replies that someday she will find her place. Harriet, filled with words about the magic of the river and its people, decides to win the captain's heart through her poetry. One evening she tells her version of the story of Krishna to the captain and Valerie: A peasant girl is in love with a local boy but has to follow tradition and wed her father's choice instead. On the wedding day she discovers that her father chose the same man and through her joyous Bharata Natyam dancing and love for the bridegroom, she transforms him into Krishna and herself into the Lady Rada. As Harriet closes the story, Valerie grabs her secret book and reads romantic passages about the captain aloud, humiliating Harriet. Valerie then engages the captain in a game of toss but he falls and, refusing help from everyone, decides he must leave India. Later Harriet catches Bogey again seducing a snake with his flute, but distraught about the captain's imminent departure, does not stop the boy. At Mr. John's, when the captain insists that he is a normal man and can go anywhere, Melanie asks, "Where will you find a country of one-legged men?" He assumes Melanie dislikes him, but she explains that it is not him she dislikes but herself and runs to the grove. Though Melanie hopes that the captain will find her, it is Valerie who catches him first and the two kiss while Melanie and Harriet watch. Valerie begins to cry in the captain's arms, lamenting that he has made all of the children's romantic dreams real and killed their childhood. Harriet runs to her mother, who explains how Harriet's body is changing for womanhood, but Harriet is inconsolable. Later Harriet remembers Bogey and finds him by the garden wall, dead from a cobra bite. After the adults attend the funeral service, Mr. John makes a toast to children, thankful that one escaped before taboos and wars destroyed his innocence. That night at dinner in the Big House, Harriet is horrified when everyone acts if nothing has happened and admits that she knew about the cobra. At twilight she runs away in a riverboat, but by nightfall the captain has found her at the fisherman's campfires down river. He soothes her, professing that with each person you meet you either die a little bit or are born again. As they get up to leave, the captain asks Harriet for help up, reminding her that he has only one leg. Many months later, among the ruckus of the Hindu spring festival, letters from the captain arrive for Harriet, Valerie and Melanie. However, all are distracted from the faint memory of the romance when they hear a cry from the other room and Harriet's mother gives birth to a baby girl.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.