1939 period drama based on Emily Bronte's classic novel which tells the tragic tale of unfortunate lovers Heathcliff (Laurence Olivier) and Cathy (Merle Oberon) who, despite their strong love for one another are forced by social circumstances to forever be apart. Meeting for the first time as children; when Cathy's father (Donald Crisp) brings young abandoned boy to live in their country estate. However; years later after their father has passed away, Cathy's brother (Hugh Williams) who has inherited his father's title forces Heathcliff from their home. Now working as a stable boy, the class divide seems even wider and Cathy marries a wealthy neighbour (David Niven) forcing Heathcliff to leave heartbroken. However, he returns years later a different man given a change in his circumstances, but is it all now too late for he and Cathy to be together?The cold grey image of a lone traveler caught in the snowy weather, traversing the Yorkshire Moor's as he makes his way wearily to the estate of Wuthering heights, immediately captures the grim nature of director William Wyler's melodramatic drama. His relief at finding sanctuary is contrasted starkly by the brusque demeanour of his reluctant host who introduces himself as Heathcliff. It's an effective moment which subtly punctuates the foreboding behind a tale which first impressions would deceptively indicate to be a haunting ghost story. As he later peers out a window in the early hours of the morning, Lockwood (Miles Mander) believe himself to to have seen the ghostly apparition of a woman calling; " "Heathcliff, let me in! I'm out on the moors. It's Cathy!" Deceptive it may be but it serves as the impetus which provokes his distraught host to run in to the snowstorm on hearing of what his startled guest has witnessed, and for devoted housekeeper Ellen (Flora Robson) to recount to Lockwood the tragic story that has led Heathcliff to where he is now. Generally regarded as the definitive cinematic retelling of Emily Bronte's sole novel as an author, it was indeed controversial at the time of it's publication with it's themes of mental and emotional cruelty, none of which has been lost in it's translation from book to screen. It also shone a light on the hypocrisy's of then contemporary, 19th century mores which religious hypocrisy, morality, social classes and gender inequality, although certain aspects of this would have been watered down to appease 1930's sensibilities which were still fundamentally conservative by today's standards. What has not been diminished however is the raw power behind Bronte's work as it was brought effectively to life by director William Wyler, who's later screen credits would include; Roman Holiday and the multi-oscar winning epic; Ben Hur. With Heathcliff you have a bold romantic lead who's melancholic early life would hint that he was destined to be damned forever in his pitiful existence. A forlorn figure who is taken From the streets of Liverpool by Mr. Henshaw who he brings home to his two offspring, the sweet and kindly Cathy and the spirited, rambunctious Hindley, the early seeds of the changing dynamic between the wretched urchin and his faux-siblings. The feelings of an instant bond between Heathcliff and Cathy which is juxtaposed by the bitter resentment harbored by Hindley today's his adoptive brother are keenly realized. It adds a crucial element which drives the plot in adulthood which Bronte artfully composed and Wyler successfully brings to life.; particularly so in adulthood after Mr. Henshaw passes away leaving his genuine son to inherit the mantle of master of Wuthering Heights.The burning resentment that Hindley has for Heathcliff; and inevitable vice versa truly adds a pivotal component to the character of the former street urchin which, as it does Cathy. The burning passion between she and the young man who her father once brought home with him years ago as a child; but there is an undercurrent of uncertainty in the validity of their relationship which Merle Oberon conveys with controlled subtlety. There is however a gloomy, downcast ambience to the backdrop of the Yorkshire Moors where the young lovers where the young lovers run away to on their romantic trysts. It has has an air of foreboding that contrasts the burning desire that each have for one another, as if acting as a portents of things to come. After all, when is all said and done both are deeply flawed characters, and one would dare to say they prove themselves to be thoroughly immoral individuals. Cathy eventually marrying the wealthy Edgar Linton (David Niven), a man of wealth and good breeding with her true feelings for him always at best being regarded as ambiguous at best. As much as she loves him there's an underlining air of snobbery about Cathy which brings in to question the legitimacy of the choice that she has made and cruelly critical over Heathcliff's scruffy appearance, saying; "Look at you, you get worse everyday. Dirty and unkempt, and in rags". Heathcliff on the other hand is a thoroughly embittered figure, frustrated by his imposed station in life, not least of all because of the wedge it drives between he and the woman he adores. It's an attitude that rears it's ugly head in the latter part of the film after his departure from Wuthering Heights following Cathy's marriage. The impact of the choices they make are sorely felt and are magnified 10 fold by the powerful performances by David Niven who brings an air of quiet nobility and dignity to Linton, with Geraldine Fitzgerald equally effective, for reasons I won't go in to as his naive sister Isabella. The rest of the supporting cast are also of the highest calibre delivering performances which are very much commendable. However, the film ultimately belongs to both Oliver and Oberon with the former making for a magnetic screen presence as the roguish Heathcliff, capturing the dual nature of his dark conflicted personality masterfully. The latter is nothing if not a noteworthy foil, with the smoldering passion in her performance has complimented admirably by his own. To it's detriment however, modern audiences might not generally take to the film as others might. It's 1930's melodramatic handling of the source material arguably would not be quite so palatable today as it was nearly eighty years ago. And what should have been a justifiably downbeat climax is somewhat undermined by it's slightly more uplifting final shot. Never the less, William Wyler's rendering of the Bronte's magnum opus is still a predominantly engaging melodrama despite it's shortcomings. It may have lost something in age which won't be appreciated by contemporary audiences but more hardcore admirers of cinema will likely find something within it to savor.

When I watched this film there was something very unrealistic about the love story. After reading about the life of Emily Bronte who wrote it, then it all starting making sense- how could a slightly under 30 year old woman during the 1800s, who was probably a virgin, know the reality or obstacles of love... she couldn't and wouldn't. Also how could she permit a male character to be so abusive and mean to many around him as Emily most likely had this experience of men during her own upbringing, so she must have felt a soft place for these types of personalities no matter how abusive they might have been (the main male character in Jane Eyre is also somewhat abusive but softens as the story moves forward). Anything sensible about love in this story would have probably been influenced or transferred by Charlotte her elder sister, who did a lot of the editing for the book to be published and then re-published. Charlotte did not marry until much later in life but perhaps had more experiences with other's issues of love to be a bit more practical in her view than her sister Emily. People who find this story terrific would have to be somewhat emotionally immature or fantasy-like in their ideals of love. This is a melodrama and one far from being factual... When Heathcliff marries another woman and treats her like basically dirt, people seem to only admire his character for being this way because his heart bleeds for Cathy, therefore he is forgiven... Heathcliff's character is a sadistic narcissists. And in the end when Cathy is sick on her deathbed because she chose a life of riches and comforts with a man she did not love or wouldn't due to her lingering inextinguishable passion for Heathcliff, people feel sorry for her as well and forgive her for her shortcomings... Cathy is another narcissistic personality (histrionic) who was basically out for her own advancement and threw out her love for Heathcliff because of it to be able to use another man (not much different than prostitution really). Its a wonder why such a novel would be so popular among the mainstream as most people worship narcissistic personalities and give little regard or empathy to the the other characters who were treated poorly or hurt such as Cathy's husband or Heathcliff's wife because they are viewed as less important. I found the story too fantasy-like, not developed in its definition of 'true love' and the main characters too self-absorbed or selfish to really be liked. I was disappointed with this story and felt it was dark and a love story far from being applicable to real life. I found Jane Erye a much better film with a more realistic approach to romance and love, so I thoroughly enjoyed it. The only really positive thing I can say about this film is that the actors are good and the scenery is nice which captures a bit of old England, and the costumes well represent the time period. However, i would not base any ideas about real love coming from this story as it is just too make belief. All the Bronte sisters who wrote lived for years in a fictional world of their own and I would say this story is an example of that fictional world, so I hope people leave it as fiction.

A servant in the house of Wuthering Heights tells a traveler the unfortunate tale of lovers Cathy (Merle Oberon) and Heathcliff (Laurence Olivier).The 1940 Academy Award for Best Cinematography, black-and-white category, was awarded to Gregg Toland for his work. Nominated for original score (but losing to "The Wizard of Oz") was the prolific film composer, Alfred Newman, whose poignant "Cathy's Theme" does so much "to maintain its life as a masterpiece of romantic filmmaking." I love Gregg Toland, and William Wyler is quite underrated. He was prolific and had a string of hits, but is rarely recalled today (2015). He was a contemporary and friend of Howard Hawks, but somehow Hawks is now the legend and Wyler is second fiddle. How can this be?

I saw this film many years before I read the book, I know which I prefer - OK, maybe with rose-tinted spectacles on. The book by Emily Bronte is an undeniable classic as is this film version but imho this is a much better use of one hundred and five minutes of life. And though they keep trying, this will remain the best condensation of the story, Wuthering Lites c/o the original Fantasy Factory.Waif brought into well off Yorkshire home, grows up to fall in violent love with the masters daughter and violent hate with the son, and eventually owns the estate but not the woman. Laurence Olivier and Merle Oberon are perfect as the manic birds of a feather Heathcliff and Cathy with David Niven as the elegant sidelined husband. Everyone is portrayed as faulty or unlikeable in some way, romance is seen as hopeless childishness leading at best to passionate petulance, at worst to death; love is as strange as people. It's relentlessly beautiful stuff, gloriously photographed by Gregg Toland with a glowing atmosphere and a most assured production than has not been possible to achieve again. The spirit of nonsensical romance has been lost in this more cynical age. Favourite bits: Miles Mander's melodramatics at the beginning resulting in Flora Robson's picture-long flashback; the windswept pair on the rocks; the pair gatecrashing the dance; Oberon's unravelling to Niven and the tear-jerking finale. Director William Wyler had a long and illustrious career, but to my mind he never bettered this effort.Watch it and weep; not only at the film's content but for a cinematic era long dead and never coming back.