The Heiress premiered in Los Angeles on October 6, 1949, and was theatrically released by Paramount Pictures on December 28, 1949. Although a box office failure, grossing $2.3 million on a $2.6 million budget, the film garnered critical acclaim, with reviewers praising Wyler's direction, its screenplay and the performances of the cast. The film received a leading eight nominations at the 22nd Academy Awards, including for the Best Picture, and won four awards (more than any other film nominated that year): Best Actress (for de Havilland), Best Original Score, composed by Aaron Copland, Best Production Design, and Best Costume Design.
In 1996, The Heiress was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[5][6]
Universal Pictures, through its EMKA division, currently handles distribution of the film.
Plot
In 1849 New York City, Catherine Sloper, an inhibited, plain young woman, lives with her wealthy father, Dr. Austin Sloper, in prestigious Washington Square. Catherine's beautiful and accomplished mother died giving birth, and Catherine’s awkwardness constantly reminds her father of the poor exchange for his beloved wife. Widowed Aunt Lavinia Penniman, on an extended visit with her brother, helps Catherine improve her social skills.
At a ball, Catherine meets handsome, charming Morris Townsend, a polished young man who squandered a small inheritance on a European Grand Tour. Encouraged by Aunt Penniman, Morris artfully pursues Catherine, who he knows through her family connections will inherit $80,000. At first Catherine is overwhelmed by his persistence; starved for affection, however, she quickly falls in love. Suspecting Morris is a fortune hunter, Dr. Sloper consults with Morris's widowed sister, who reluctantly makes admissions that confirm Sloper’s opinion.
Before approaching Sloper to formally request Catherine's hand in marriage, Morris improperly makes Catherine pledge herself to him. Pointing out the impropriety, Sloper rejects him. When Catherine persists, Sloper insists on taking her on an extended European trip to separate the pair as a test. Catherine informs Morris that she already has a substantial $10,000 inheritance from her mother and does not need her father's approval. Morris claims that he is loath to estrange her from her father, and she should appease him.
Olivia de Havilland as Catherine Sloper, a plain and shy young woman, who constantly disappoints her father with her lack of social graces.At a ball, Catherine meets Morris Townsend, a handsome and charming, but impoverished, young man who knows she is heiress to a great fortune. Ralph Richardson plays Doctor Austin Sloper, who threatens to disinherit Catherine if she marries Morris Townsend, who he considers a fortune hunter.Miriam Hopkins plays Lavinia Penniman, Catherine’s aunt, who in good faith aids Morris Townsend in pursuit of Catherine.Years after having been abandoned, wealthy Catherine again is courted by Morris Townsend. She is now able to deal with him confidently.
While Catherine and her father are away, Morris frequents the Sloper home like a private club, enjoying Aunt Penniman’s hospitality and Sloper’s cigars and brandy. Disappointed with his daughter’s intransigence in her devotion to Morris, Sloper cuts the trip short. Upon returning home, he reveals to Catherine his low opinion of her merits, believing her dim for thinking any suitor would have an interest in her beyond her inheritance. He threatens to cut her out of his will if she marries Morris. Catherine now fully realizes the depth of her father's disdain.
Wounded and angry, Catherine is convinced that Morris's love is compensation for her father's coldness. She begs Morris to arrange their immediate elopement, not wanting to spend another night in her father's home. Morris holds out hope that her father will eventually relent, but Catherine insists that even if her father relents, she will never accept anything from him again. Reluctantly, Morris agrees to elope and leaves to pack his belongings.
Catherine waits with her bags packed, and Aunt Penniman stays with her, dismayed that Catherine revealed to Morris that there would be no money from her father. As the appointed time comes and passes without his arrival, Catherine realizes that Morris has abandoned her. Pondering why Morris was not satisfied with her substantial $10,000, her aunt explains it is a disappointment when expecting $30,000.
Days afterward, Sloper reveals he is dying and asks Catherine when she plans to leave with Morris. When Catherine admits that the elopement is off, Sloper expresses pride that Catherine has rejected Morris, but Catherine bitterly informs him that she was jilted. Catherine shrilly expresses that Sloper has denied her even the chance to "buy" a husband who at least would hide that he does not love her. She tells her father that if he leaves her his money, he will never know whether she wastes it on Morris or another fortune hunter. Sloper admits that he does not want to disinherit her and accepts that she can do as she pleases when he is gone. Hardened, Catherine refuses to come to his bedside when he finally succumbs.
Years later, wealthy, independent, and single, Catherine still lives in the Washington Square house with her aunt. Aunt Penniman informs Catherine that Morris has returned from California and wishes to explain himself. Initially reluctant, Catherine eventually agrees to see him. Now destitute, Morris attempts to win Catherine back, saying that he left, selflessly, not to estrange her from her father. Chiding him for not being as impetuous as he used to be, Catherine suggests they carry out the delayed elopement. Morris eagerly leaves to pack. When Morris returns to take her away, Catherine has bolted the door against him, leaving him desperately pounding on the door as she turns off the lights and goes to bed.
After seeing The Heiress on Broadway, Olivia de Havilland approached William Wyler about directing her in a screen adaptation of the play.[7] He agreed and encouraged executives at Paramount Pictures to purchase the rights from the playwrights (Ruth and Augustus Goetz) for $250,000 and offer them $10,000 per week to write the screenplay. The couple were asked to make Morris less of a villain than he was in their play and the original novel in deference to the studio's desire to capitalize on Montgomery Clift's reputation as a romantic leading man.[8]
Ralph Richardson reprised the role of Austin Sloper in a London production of the play.[7]
Reception
The Heiress received universal critical acclaim. When it premiered at Radio City Music Hall, Bosley Crowther of The New York Times wrote that the film "crackles with allusive life and fire in its tender and agonized telling of an extraordinarily characterful tale" and added Wyler "has given this somewhat austere drama an absorbing intimacy and a warming illusion of nearness that it did not have on the stage. He has brought the full-bodied people very closely and vividly to view, while maintaining the clarity and sharpness of their personalities, their emotions and their styles...The Heiress is one of the handsome, intense and adult dramas of the year."[9] Currently, the film holds a 100% approval rating with an average rating of 9.0/10 on Rotten Tomatoes based on 14 reviews.[10]
The Brooklyn Eagle found the film "an intensely satisfying drama that holds a high level of interest throughout, building relentlessly to a moving climax." Praise for the principals lauded de Havilland especially: "the transformation of Catherine Sloper from a pathetically shy girl to a cold, handsome woman" being "handled with finished skill."[11]
The Philadelphia Inquirer praised the Goetzes for a skillful transformation of their stage version, finding it "in almost every way...superior." Prospects of an Academy Award for de Havilland were judged "thoroughly reasonable" as well.[12]
TV Guide rates the film five out of a possible five stars and adds, "This powerful and compelling drama...owes its triumph to the deft hand of director William Wyler and a remarkable lead performance by Olivia de Havilland".[13]
Time Out London calls the film "typically plush, painstaking and cold...highly professional and heartless."[14]
Channel 4 stated "de Havilland's portrayal...is spine-chilling...Clift brings a subtle ambiguity to one of his least interesting roles, and Richardson is also excellent."[15]
Influence
Martin Scorsese has cited The Heiress as a key influence on his 2023 film Killers of the Flower Moon. Specifically, the portrayal of Mollie Kyle and her relationship with her husband Ernest Burkhart drew inspiration from de Havilland's portrayal of Catherine and her relationship with Morris.[16]
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