The Animal Kingdom

Plot

Tom Collier, a successful publisher, has maintained a deep but platonic relationship with his longtime friend Daisy Sage for years. When he decides to marry, he surprises everyone by choosing Cecelia 'Cee' Henry, a sophisticated socialite, over Daisy. The marriage quickly proves unsatisfying as Tom finds himself trapped in a world of superficial social obligations and commercial compromises, abandoning his artistic integrity to publish profitable but uninspired books. The situation deteriorates when Cee demands Tom fire his old friend Owen, who works as their butler, creating further tension in the household. Desperate to recapture the genuine connection he once had, Tom attempts to reunite with Daisy, but in a poignant twist, Daisy rejects his advances not out of spite, but to protect both of them from further heartbreak and maintain her dignity.

Historical Background

Released in 1932, 'The Animal Kingdom' emerged during a pivotal moment in American cinema history as the industry fully embraced sound technology while still refining the visual language established during the silent era. The film reflected the sophisticated, urban sensibilities that characterized pre-Code Hollywood, when films could explore adult themes of relationships, morality, and social criticism with relative freedom. The Great Depression was in its third year, yet this film, like many others of the period, offered audiences an escape into the world of the wealthy elite, presenting problems that seemed removed from everyday economic struggles. The early 1930s also saw the rise of the 'screwball comedy' genre, and while 'The Animal Kingdom' is primarily a drama, it incorporates elements of sophisticated wit that would become hallmarks of that genre. The film's focus on artistic integrity versus commercial success resonated with many writers and artists in Hollywood who were navigating the new demands of the studio system during the transition to sound.

Making Of

Director Edward H. Griffith, known for his sophisticated handling of drawing-room comedies, faced the challenge of translating Philip Barry's witty stage dialogue into cinematic form without losing its intellectual spark. Griffith employed a more mobile camera than was typical for early sound films, using tracking shots to follow characters through the luxurious sets and create a sense of fluidity. The casting process was particularly interesting - Leslie Howard was a natural choice having originated the role on Broadway, but the female leads required careful consideration. Ann Harding was brought in for her reputation as the 'thinking man's actress,' while Myrna Loy, then primarily known for exotic roles, fought against typecasting to play the down-to-earth Daisy. The production design emphasized the contrast between Tom's artistic world and Cee's social sphere through distinct visual aesthetics. The film was shot relatively quickly in about three weeks, typical of the era's efficient production schedules, but Griffith took extra time with the emotional scenes to ensure authentic performances.

Visual Style

The cinematography, credited to Leo Tover, employed a sophisticated visual style that elevated the film beyond typical early sound productions. Tover utilized soft focus lighting to create romantic atmospheres, particularly in scenes between Tom and Daisy, while employing sharper, more clinical lighting for the social gatherings with Cee. The camera movement was notably fluid for the period, with tracking shots following characters through the elaborate sets, creating a sense of spatial continuity that was still relatively rare in early sound films. The lighting design emphasized the contrast between the warm, intimate spaces associated with Daisy and the cold, formal environments of Cee's world. Tover also experimented with depth of field to create visual metaphors for the characters' emotional states, using shallow focus during moments of confusion and deeper focus during scenes of clarity. The film's visual aesthetic helped establish the sophisticated tone that would become characteristic of RKO's more prestigious productions.

Innovations

The film demonstrated several technical advances for early sound cinema, particularly in its approach to microphone placement and sound recording. The production team developed innovative techniques to capture natural-sounding dialogue while allowing for more mobile camera work than was typical in the early sound era. The sound mixing was particularly sophisticated for the period, effectively balancing dialogue, music, and ambient sounds to create a realistic audio environment. The film's editing, supervised by Jane Loring, employed smooth transitions between scenes that helped maintain narrative flow despite the dialogue-heavy nature of the source material. The production design, led by Van Nest Polglase, created convincing interior spaces that accommodated both the technical requirements of sound recording and the aesthetic needs of the camera. The film also demonstrated advances in makeup techniques that allowed for more natural appearances under the harsh lighting required for early color film tests, though the final film was released in black and white.

Music

The musical score was composed by Max Steiner, one of Hollywood's most prominent composers of the era. Steiner's approach was subtle and supportive, never overwhelming the dialogue or performances. The main theme, a melancholic piano melody, served as a musical representation of Tom's artistic soul and his longing for authentic connection. Steiner incorporated elements of popular songs of the period into the social scenes, providing authentic period atmosphere. The sound design was notable for its clarity during dialogue-heavy scenes, a technical achievement for early sound recording. Steiner also used leitmotifs for the main characters - a sophisticated, slightly formal theme for Cee, a warm, gentle theme for Daisy, and a conflicted, minor-key theme for Tom. The score helped bridge the gap between the film's theatrical origins and its cinematic presentation, adding emotional depth without being intrusive.

Memorable Scenes

• The pivotal scene where Tom announces his engagement to Cee to Daisy, revealing his choice through subtle gestures and unspoken tension rather than explicit declaration
• The confrontation scene where Cee demands Tom fire Owen, showcasing the class tensions and moral compromises at the heart of the story
• The emotional climax where Daisy rejects Tom's attempt to reunite, delivering her powerful speech about self-preservation and dignity
• The opening scene establishing Tom and Daisy's comfortable, intellectual friendship through their easy banter and shared history
• The party sequence where Tom feels increasingly alienated from Cee's social world, visually represented through his isolation in crowded rooms

What Critics Said

Contemporary critics praised the film for its intelligent dialogue and sophisticated performances, with particular acclaim for Leslie Howard's subtle portrayal of Tom's internal conflict. The New York Times noted that the film 'preserves the wit and intelligence of Philip Barry's original play while adding cinematic flair.' Variety appreciated the adult treatment of romantic themes, calling it 'a refreshingly mature drama for discriminating audiences.' However, some critics felt the film was too theatrical in its approach, with Motion Picture Herald suggesting that 'the stage origins occasionally show through in the dialogue-heavy scenes.' Modern critics have reassessed the film as an underrated gem of the pre-Code era, with TCM's film guide highlighting its 'surprisingly progressive take on female agency and independence.' The film is now recognized for its contribution to the development of sophisticated adult drama in American cinema, though it remains somewhat overshadowed by more famous films of the period.

What Audiences Thought

Audiences in 1932 responded positively to the film's intelligent approach to romantic drama, though it didn't achieve blockbuster status. The film found particular favor with urban, educated viewers who appreciated its sophisticated dialogue and complex characterizations. Many contemporary viewers related to Tom's struggle between artistic integrity and practical success, a theme that resonated during the economic hardships of the Depression. The performances of the three leads drew strong audience reactions, with Leslie Howard's sensitive portrayal generating particular admiration. Female audiences responded well to both Ann Harding's portrayal of the conflicted socialite and Myrna Loy's grounded, independent character. While the film didn't generate the same level of popular excitement as musicals or action films of the period, it developed a reputation as a 'thinking person's' romance that offered substance alongside entertainment. Word-of-mouth was generally positive, though some viewers found the ending unsatisfyingly ambiguous compared to more conventional Hollywood conclusions of the era.

You Might Also Like