Story of Esther Costello
by David Miller

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Category: VHS Video
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VHS Movie Reviews of Story of Esther Costello

Movie Review: Esther-Fest
Summary: 5 Stars

Movie Review: I AGREE WITH rivercircus REVIEW ENTIRELY
Summary: 2 Stars

Movie Review: The Boring Esther Costello
Summary: 2 Stars

The problems I had with "Esther":

(1)(a) THE SCRIPT. In this film, where Joan's philanthropist character Margaret adopts and attempts to rehabilitate a deaf-dumb-n-poor Irish ragamuffin, Margaret's attempts at teaching Esther reminded me not of a cinematic homage to Annie Sullivan and Helen Keller, but rather of Joan's scientist character working with a captured prehistoric troglodyte in her last (and very-bad-because-it's-dull) film, "Trog." Especially annoying is one particular scene where Margaret interminably repeats "Clap hands" to the unfortunate girl, who's trying her darndest simply to go to the bathroom. (That may seem a trivial beef, but since the transformation of Esther from lost cause to cause celebre is an important part of the plot, it's imperative that the process be at least somewhat interesting and/or moving. It's not.)

(1)(b) Did I mention---THE SCRIPT? If it's not rather ridiculous, it's more-than-rather inept. Re the former ridiculousness: If Helen Keller herself (surely the Queen Bee of the deaf-n-blind) didn't manage to inspire such huge Nazi-esque rallies as Esther presides over in this film, then why in the world would Esther be so monumentally inspirational? Nothing in the film's prior goings-on indicate that's she's capable of such persuasion. Re the latter ineptitude: Joan's revenge on her wayward husband was, plot-wise, a major event that one would naturally anticipate seeing in real action. But no: the two drive away, then the film cuts to an unimportant character blandly relaying what happened to them...(At least, contrary to all narrative indications, we're not finally subjected to a last teary-eyed speech by Esther before the masses.)

(2) JOAN'S PERFORMANCE. I'm a big Joan-fan, but overall, I tend to dislike her in roles where she tries to act overly and unnaturally warm and "good-eggish"; such efforts usually turn out rather smarmily, which seems to be the case here. (Other examples that come to mind are 1931's "This Modern Age," '33's "Today We Live," and '51's "Goodbye My Fancy.") Throughout her career, which ranged from 1925 to 1970, she was, for instance, highly capable of playing a baddish girl with a heart of gold ("Flamingo Road", "Grand Hotel"), or a good girl on the outs with Society ("Possessed" '32, "Paid"), or a decent woman trying to survive ("Mildred Pierce", "Sudden Fear"), or an outright villainness ("Harriet Craig", "Queen Bee")... But a Help-Meet for All of Humanity? NAH. She tends to tilt her head up and shut down emotionally, which isn't too meaningful for the audience.

Re Joan's assessment that this was her last "really top picture": I'd say this honor probably goes to "Baby Jane" ('62), which was truly Joan's last well-done picture, both script- and acting-wise (though I do appreciate '64's low-budget "Strait-Jacket"). And prior to that, "Autumn Leaves" in '56.

"Esther," on the other hand, is just plain dull and/or dull-witted.

Movie Review: JOAN CRAWFORD AS A MIRACLE WORKER...
Summary: 4 Stars

Enter Margaret Landi, a wealthy American, who is touring Ireland in search of her Irish roots, when she comes upon a teenage Esther. Estranged from her scoundrel of a husband, Carlo (Rossano Brazzi), and childless, Maargaret is moved by the entreaties of the local parish priest to help Esther. Though at first resistant, she is finally moved by Esther herself into taking her with her. She now becomes to Esther, what Annie Sullivan was to Helen Keller, and under Margaret's care and ministrations Esther responds and thrives. A light bulb goes on in Esther's formerly dark and lonely world.

Esther's story and plight ultimately captures the heart of those who hear it, and a charitable foundation is established. This foundation becomes recognized world wide and is big business, making Margaret and Esther the functional equivalents of televangelists, such is the fervor that they create wherever they go. Moreover, the money comes pouring in. This causes Margaret's estranged husband, Carlo, to come back into Margaret's life and not for the better. Carlo is nothing more than a handsome, smooth talking hustler.

Carlo brings a business partner with him and finagles Margaret into letting them handle the business. Margaret, who is clearly overworked, turns over the reins of the foundation to him. Her husband and his partner end up swindling the foundation. By the time Margaret realizes what is going on, the damage is done. Carlo has also put the moves on the now nubile and lovely Esther and ends up sexually assaulting her. When Margaret discovers what Carlo did to Esther, it puts her over the top, and she takes matters into her own hand. With her world tumbling down around her, Margaret meets Carlo and ensures that neither she nor Esther will ever be hurt by Carlo again. In the interim, Esther discovers that every cloud does, indeed, have a silver lining.

This is a terrific film, which garnered a British Film Academy Award for Joan Crawford as Best Actress for 1957. Her portrayal of Margaret Landi is compelling and moving. Newcomer Heather Sears gives a wonderful performance as Esther Costello, a difficult role. She is able to silently convey to the viewer what she is feeling. Rossano Brazzi, as the dog of a husband, is on the money, and the entire supporting cast give strong performances, making this a film to see. Fans of Joan Crawford will enjoy this film, as will anyone who likes a well made, well acted, though somewhat schmaltzy, drama.

Movie Review: Joan deserved another Oscar for this one---
Summary: 5 Stars

Drama Video

• Genres > Art House & International > By Country > United Kingdom
• Drama > By Theme > Melodrama
• Classics
• Murder & Mayhem
• Drama - General