Catherine ‘Keechie’ Mobley: Bowie?
Arthur ‘Bowie’ Bowers: Yeah?
Catherine ‘Keechie’ Mobley: Don’t shut yourself up cold like this. I don’t know what to do.
Arthur ‘Bowie’ Bowers: No?
Catherine ‘Keechie’ Mobley: No, I don’t.
Arthur ‘Bowie’ Bowers: You know just what you’re doing now. Just tell me when I’m doing the wrong thing; I’ll snap out of it.
Catherine ‘Keechie’ Mobley: Alright, Bowie.
The Heiress is a kind of movie that was very popular in classic era Hollywood and isn’t really made that often anymore. I mean, we get lots of period pieces ever year, but they often feel stuffy and/or Oscar-baity. What made the period dramas of this era so great is they feel modern, as in they felt modern at the time. And in doing so they still feel modern today. The Heiress or Jezebel or The Little Foxes feel as modern as any of their non-period contemporaries. I wish Hollywood could figure out how to do that again. I think Jane Campion came pretty close with The Piano. The Heiress was nominated for eight Academy Awards, winning four: Best B&W Art Direction-Set Decoration (won), Best B&W Costume Design (won), Best Score (won), Best B&W Cinematography, Best Supporting Actor Ralph Richardson, Best Actress Olivia de Havilland (won), Best Director William Wyler and Best Picture. The other films up for Best Picture that year were Battleground, A Letter to Three Wives, Twelve O’Clock High and winner All The King’s Men.