1957 in Film: Peyton Place

If someone asked you to name the first thing that pops in your head when you hear the term ‘50s melodrama, you’d probably say Douglas Sirk. The second thing that might come to mind is Peyton Place.

Adapted from the wildly salacious novel by Grace Metalious, Mark Robson’s Peyton Place feels tame in comparison. Still, the film managed to heat up the box office. So much so, Peyton Place became a phenomenon, spawning a sequel, a series of books, and a TV show.

Peyton Place juggles multiple plotlines effectively as a film of this genre should. Every character faces some sort of crisis. No one escapes Peyton Place unscathed.

Even the beloved teacher at the high school, Elsie Thornton, hangs her head in disgust as she learns of her unsuccessful bid for promotion. The school board instead choses newcomer, Michael Rossi, as the new principal. Rossi goes on to make a pass at Constance MacKenzie, a mother haunted by a past relationship which remains clouded in mystery for most of the film.

Meanwhile, Constance’s daughter, Allison, looks to shed her goodie two shoes valedictorian image. Selena Cross, her best friend from across the tracks, has its much worse as the town drunk, who happens to be her stepfather, violently attacks her in multiple ways.

Related: 1957 at the Oscars

For a film released in 1957, Peyton Place contains a fair share of serious subject matter, ranging from sexual assault to suicide. Unfortunately, Robson gives these serious issues the same weight as getting caught at a make-out party or an afternoon skinny dipping. Detractors of the genre see this as something that epitomizes many melodramas in general. Everything begs for gasps from the audience.     

On the other hand, fans of this type of classic movie will find all the ingredients expected of cinematic soap operas. Robson showcases William C. Mellor’s garish cinematography, the lavish art direction by Jack Martin Smith and Lyle R. Wheeler, and of course the swelling score by Franz Waxman. Waxman could really crank out scores in his day, as many as 10 a year. He is best known for his Oscar winning music from Sunset Boulevard and A Place in the Sun. 

Kudos to the cast. They sink their teeth into the roles and play their parts pitch perfectly for this kind of drama. The film earned a record tying five Oscar nominations for acting including Lana Turner, Diane Varsi, and Hope Lange as Constance, Allison, and Selena respectively. Arthur Kennedy received a nod for his role as Selena’s stepfather and Russ Tamblyn got one for playing Allison’s late-blooming love interest, Norman Page. 

The film shines brightest when Robson choses to focus the saga on the Cross and MacKenzie families. Clearly, the Academy agrees as the characters from that part of the story raked in the lion share of its nominations. When the film veers off to follow the story of Betty Anderson, the girl with a reputation, and Rodney Harrington, her rich boyfriend with a disapproving father, the stakes don’t feel as high. 

Related: 1957 in Film – Until They Sail

Though the story takes place before World War II, Peyton Place reflects the suburban angst of the era in which the film was released. The postwar booming economy led to a surge in housing outside the city. Many a film since has pointedly criticized suburbia. Peyton Place actually reminds me a little of American Beauty in theme. Beneath the white picket fence lies a darker side. Both films also weave between the adults and the teens to demonstrate that the feeling of insecurity does not fade with age.

Peyton Place made such an impact on culture that the title entered into the lexicon as a phrase to indicate a location riddled by gossip and scandal. Grace Metalious would go on to write other books, including the first sequel to her runaway best seller. None of which would reach the same heights. Metatlious’ own life would make an intriguing book or movie. In fact, Sandra Bullock was set to play Grace in a biopic but got shelved indefinitely. Mark Robson would go onto direct the camp classic Valley of the Dolls and Earthquake, which gave us Sensurround! 

In a year with contributions from Bergman, Fellini, Kazan, Kubrick, Lumet, Wilder among others, Peyton Place pales in comparison. Though it did garner a nomination for Best Picture. The film is worth a look if you look at it from a sociological lens or if it remains a glaring omission in your melodrama collection.