6.5 Mildred Pierce: Novel and Film

 6.5 Mildred Pierce: Novel and Film

Mildred in the kitchen, prototype for the self-made businesswoman

READ/WATCH THIS MATERIAL AFTER VIEWING MILDRED PIERCE

TCM OUTRO - 

Noir Alley: Mildred Pierce (1945) - Link Here

Noir Alley: Mildred Pierce (1945) outro by Eddie Muller shown on May 10, 2020

From TCM's Noir Alley (Saturdays at Midnight ET and Sunday 10am ET) hosted by the Czar of Noir, Eddie Muller.

VIDEO FROM CRITERION COLLECTION

Critics Molly Haskell and Robert Polito discuss MILDRED PIERCE in this excerpt from an interview on our edition - Link Here

ADAPTATION OF MILDRED PIERCE FOR THE SCREEN

Converting a novel to a screen adaptation can be a long process, longer during those Golden years when they had to adhere to many rules.  There were two major factors that affected the changes from one medium to the other during Hollywood’s golden age.  One, that still pertains today was that stories shown on the big screen had to fit into an allotted time, after all audiences’ attention spans lasted only so long.  

The other was the all-powerful production code (Link doesn't work.), which set all the rules of conduct and values that had to be adhered to.  All the major differences between James Cain’s 1941 novel, Mildred Pierce and the 1945 film version discussed below are due to one of these two factors, although it is worth mentioning that Hollywood during the time in question did whatever it had to stick with what worked as often as possible.  In other words, it was very popular to “Hollywoodize” characters and situations so that they were relatable and more acceptable to audiences.  As a result of this, many characters were stereotyped – regularly.

As mentioned above, by way of the Production Code, Hollywood set standards for its product in order to avoid “offensive” plots, characters, or situations.  The Code resulted in all projects being reviewed so that no lines were crossed.  Mildred Pierce is certainly no exception and, keeping the Code in mind, it is easy to see why there are some “necessary” changes from one medium to the other. Following are some of those differences and be aware, spoilers are included.

One significant difference between the two versions of Mildred Pierce is the fact that in the novel Bert and Mildred Pierce marry because she is pregnant.  Veda, the older of the couple’s two daughters, throws this in her mother’s face in the novel but premarital sex in 1940s films was considered offensive to American audiences and reserved for “seedy” or “loose” women.  The second blatant omission in the film is what is referred to in the book as “the operation.”  This, of course, refers to an abortion and something that Mildred and Bert consider having Veda go through as a result of her ultimately fictitious pregnancy in Cain’s book.  This procedure would not have been a part of a mainstream film during the 1940’s and in this instance pregnancy is mentioned only because it turns out to be false, a part of Veda’s games to gain money and independence from her mother.  Worth mentioning here also is the fact that any overt mention of Veda having a sexual relationship with Monte, who would be her step-father is also omitted from the screenplay.  In the novel, Mildred actually finds them in bed together.

Aside from any sexual messages the Production Code’s frowned upon, it also kept a watchful eye on anything that could be construed as glorifying crime. This premise of “crime doesn’t pay” covered such obvious bad behavior as murder and theft but also included extramarital affairs, in particular when the “sinner” was a woman.  Again here, Mildred Pierce is no exception.  When we see that Mildred goes with Monte, after just having met him, to the beach house to have a romantic day with him she returns to a dying child.  This is no coincidence nor is it unique to this film.  By the standards of the time clearly a married woman, even if separated and despite the fact that her husband has cheated on her for years, is not entitled to such sins – life will punish her for this behavior.

Along these same lines, in Cain’s novel Mildred has a very healthy sexual appetite and enjoys physical relationships with both Wally and Monte.  The film steers away from this characterization after that day at the beach because it is simply not acceptable.  In the film the character of Wally pursues her but never quite gets anywhere.

Further character differences can be seen between the novel and the film aside from Mildred’s sexuality.  Some are in the relationships between the players and others are in their physicality.  In the novel, Mildred is much younger than she is in the film and she is also more insecure about her social status.  Her need to somehow succeed is similar in both versions, which is also fed by the fact she falls for losers in all instances.  Although both the film and the novel feature her relationship with daughter, Veda as a central driving force, it is interesting to note that in the novel this relationship goes a step or two beyond a mother’s love and obsession.  As examples of this we see that she actually thanks God that younger daughter, Ray dies instead of Veda (can a parent do or feel anything worse than this?), she hugs and kisses Veda “passionately”, and even ceases sleeping with her husband once Veda moves back in with her (all of these “feelings” are depicted clearly in the film version but not to the extent they are in the novel.).

Although she is not a main character in the film, in Lottie, Mildred’s maid, we see the most blatantly stereotyped character.  She is the maid, she is black and she is portrayed as pretty dumb, not even knowing how to pick up a telephone receiver in one scene.  Unfortunately, this is typical of how African-Americans were depicted in all media at the time and Hollywood was no exception. There is no mention in the book that this character is black so it is obvious that this pairing of character and race is deliberate.  It is worth mentioning here that the actress who plays this role, Butterfly McQueen (Links to an external site.), is uncredited in this movie.  Despite the fact that her role is not a major one, she certainly deserves her credit and it boggles the mind that six years before Mildred Pierce she played a significant role in the most successful movie of all time.

The final major character that makes some important transitions from the novel to screen is Ida.  First is the fact that in the film she is an amalgam of the characteristics ascribed to both Mrs. Gessler and Ida in the novel – Mildred’s confidant, best friend, voice of reason, smart, hard-working – but in the film she is further depicted as spunky, driven, competent, somewhat masculine (Wally even refers to her as not being a woman), a career woman who is also single.

The “norm” would not have allowed a driven, career woman to also have a husband and children.  In the novel Ida is married and struggles financially like everyone else.  Clearly, women could never handle a career and a home and be successful in both up on the big screen (or could very rarely do so) – as we see with Mildred who cannot seem to succeed in both at the same time.

The character of Ida also supplies the comic relief in the film and utters the best line with the standout being, “Personally, Veda’s convinced me that alligators have the right idea.  They eat their young.” 

- "Mildred Pierce novel to Film," Once Upon a Screen (Links to an external site.)

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