An Appreciation of Picnic (1955)

“Picnic would never
win any prizes in a best-plot contest, but I hope and feel that the
play is rich in character, mood, and atmosphere.”

William Inge

These are the words of William Inge, the playwright who won a Pulitzer prize for his 1953 creation, Picnic. The 1955 film version of Inge’s play is exactly that – a piece that “is rich in character, mood, and atmosphere.”

From the first time I watched Picnic, I was drawn into the world and lives of its characters. They lived simple lives and they had problems I could relate to.

They weren’t hoping to land a role on Broadway or to win the Olympics that year. Theirs were personal struggles: to be true to self or do what’s expected of you; to play it safe or to take a leap of faith; to accept or fight against the tides of time.

In other words, they were simply human.

The background for this drama is Labor Day, signaling the end of the summer season and a return to the routines of ordinary life; but for some, real life is just beginning.

With a satisfying blend of humor, heart, pathos and hope, Picnic offers much to its viewers. Here is just a sampling of its many delights…

The Cinematography

Picnic is one stunner of a movie…And for all the reasons I list here, Picnic would be a shell of its original self had it not been for the incredible artistry of cinematographer James Wong Howe.

Howe sets the mood for the film with painterly effects, bathing the scenes in the soft warmth of a summer glow; but, when the drama calls for it he uses a cool, sterile lighting and palette – effectively communicating the emotions that run high in this small Kansas town.

Howe’s eye for composition was equally sensitive as his eye for color and lighting, conveying through Picnic a vivid exploration of the world of dreams, hopes, and fears.

Notice how he frames these three very different shots…beautiful and creative, yet simple and effective.

Kim Novak as Madge

The whole cast for the film is wonderful and each deserves further appreciation and examination. For the purposes of this post I am looking closer at Kim Novak’s character, and hope to take a closer look at the others another day.

Though she appeared in films before Picnic, it was her role as a reluctant small-town beauty queen who must choose between her head and her heart that made Kim Novak a box-office sensation in the 1950’s and Columbia Pictures’ newest star.

At the time she filmed Picnic, Kim recalls surviving the Hollywood studio system machinations. She fought to keep her Czech name of Novak and defining aspects of her appearance. Although she realized her image was part of the Hollywood movie star package, Kim wanted to be valued as more than a pretty face.

Madge Owens was an extension of her real life character, wanting to be seen for more than her beauty and to be loved for who she truly was.

As Madge, Kim blossomed in her career as what she calls “a reactor.” Kim never admitted to being a Sarah Bernhardt; but what she did do was realism.

She did not hide behind the character she was playing – she put all of her raw feelings and emotions onto the screen. For the character of Madge this is a necessity. We need to feel her discomfort, misgivings, and desire to break free. With her innate vulnerability, Kim allows us to relate to the prototypical untouchable beauty in a new, fresh way.

The Human Element

Each character in Picnic is struggling with their identity in some way.

They are unsatisfied with where and who they are and trying to figure out their place and purpose in life. Others know all too well where they are headed and are fighting against their fate.

Since we, as human beings have or will struggle with the emotions our characters face in Picnic: loneliness; the feeling of being misunderstood; the fear of failure; and the desire of wanting more out of life, at times it’s cathartic to see others go through them, to feel along with them, cheer for them, and to be reminded that we are not alone on our own life’s journey.

But since we can get that same experience through most movies, what makes Picnic any different from the others?

I think Larry Kleno, author of Kim Novak on Camera, sums it up beautifully: “The film’s conflicts never cease to be handled with compassion and authority.”

The Score

Recently I’ve come to notice the brilliant work of George Duning in Columbia movies (Bell, Book and Candle and The World of Suzie Wong to name a few). The credits will start to roll and I’ll notice how nice the score is, then George Duning pops up yet once again…Time to give him some love.

From the minute Hal (William Holden) jumps out of the freight car, Duning sets the scene. High drama is in the works.

With a brassy, Bernstein-esque theme that was so popular in the 1950’s, we get the feeling we are in for quite a ride. We also know that this is a weary character who’s been through a lot and lived on hard times. When Hal arrives at the Owens’ home and meets Madge, Duning utilizes a more sensitive mood with strings and the first appearance of the Love Theme.

At director Joshua Logan’s request, the 1933 standard “Moonglow” was used for the pivotal dance scene. It had been used to great effect in the Broadway production which Logan also directed; but Logan wanted even more oomph for Picnic’s cinematic treatment.

In addition to “Moonglow”, Logan asked George Duning to add the Love Theme at a precise moment during the dance. As an answer to their creative problem, Duning and his assistant arranged a medley of the two songs. Since then, “Moonglow” and Picnic have become inseparable. The recording made No. 1 on Radio’s Hit Parade in 1956 and is an integral part of creating one of cinema’s most iconic scenes.

A beautiful blend of melodies, the Love Theme conveys intense yearning with an undertone of melancholy, while Moonglow adds a feeling of dreaminess where reality fades away and anything becomes possible.

Lovely lyrics by Steve Allen were added to Duning’s theme and became the song, “Picnic.” If you haven’t heard it yet, I encourage you to give silky voiced Dorothy Collins a listen via this YouTube video.

But Picnic is not all romance and flowers and Duning did not shy away from the ugliness that occurs.

The score’s bold signaling of drama tends to pull viewers out of the film, but in my opinion such strong musicality serves the storytelling quite well. Take Rosemary’s breakdown at the picnic. The jabbing, dissonant chords echoing throughout her speech are as piercing to the ears as her hurtful words are to Hal’s troubled heart.

Picnic was a sensation at the time of its release as were its theme song and soundtrack, with the latter garnering Duning the fourth out of his five nominations for Best Original Score.

Closing Thoughts

If it’s not already clear, I love this film and see and feel so much everytime I watch it. It’s the film that keeps on giving. No matter the stage of life the viewer happens to be in, there is truly something for everyone at Josh Logan’s Picnic.

This post is my contribution to the Fun in the Sun Blogathon hosted by The Classic Movie Blog Association. Grab your shades and head on over HERE to read the shining entries!