Heidi
(1968, U.S./West Germany) color 105 minutes
With: Jennifer Edwards (Heidi), Maximilian Schell (Herr Richard Sesemann), Jean Simmons (Fräulein Rottenmeier), Michael Redgrave (Heidi's Grandfather, Jonas), Walter Slezak (Father Richter), Peter van Eyck (Doctor Raboux), Karl Lieffen (Sebastian), Elizabeth Neumann (Grandmother), Miriam Spoerri (Dete), John Moulder-Brown (Peter), Zuleika Robson (Clara)
***
Plot Outline: In Frankfurt, Germany lives successful businessman Herr Sesemann with his beloved daughter Clara, and servants. One day, a woman called Dete visits the Sesemanns, dragging with her a young child named Heidi. Dete has brought Heidi to be a companion to poor crippled Clara. Unfortunately, Herr Sesemann is away on business, and his housekeeper, Fraulein Rottenmeier, cannot make any decisions of this nature for him. Dete drags Heidi off, disappointed.
Dete returns Heidi to Dorfli, the little Swiss village from whence she came. She leaves the child with the local pastor, Father Richter.
Father Richter escorts Heidi up the mountain, to the tiny home of her Grandfather. The elder is not around, however, so the holy man leaves the poor child waiting for hours outside.
A young goatherd named Peter happens by eventually, and takes Heidi home with him to see his blind Grandmother. The Grandmother tells Heidi the sad story of her Grandfather, how he lost his family and has isolated himself up on the mountain, a lonely, bitter old man.
Eventually, the gruff old man comes to pick Heidi up, and takes her to his little cabin. The Grandfather grumpily sets up a loft for Heidi to sleep in. The scared and lonely child says her prayers, and drifts off to a fitful sleep.
Next day, Peter comes by, and takes Heidi along as he tends his goats. Heidi takes to this mountain life immediately, and Peter even gives her a sickly goat to take care of.
Heidi drags the ailing animal back to the cabin, but Grandfather insists that the goat cannot stay in the house with them. In a huff, the Grandfather goes down to the village to speak with Father Richter about the ill-mannered child. He pleads with Richter to have someone take Heidi away from him; he does not want the responsibility.
Back on the mountain, Heidi and Peter become fast friends, even milking the goats together.
When Grandfather returns, Heidi informs him she plans on keeping the ill goat. The Grandfather reiterates that the goat will not stay with them.
The headstrong Heidi then claims that she will simply sleep in the barn, with her charge! After she has fallen asleep in the hay, Grandfather carries her back inside.
Next morning, Heidi visits Father Richter, who tells her the sad story of Grandfather's tragedies, and the magnificent church organ which he built.
Next day, is outside, singing a sweet song. Grandfather recognizes the song; its the same one he beloved daughter sang to him before she died!
Grandfather allows Heidi to climb up the mountain with him, to the spot where he meditates daily. Here, Grandfather begins to read a book, and learns to his shock that Heidi cannot read! Father Richter joins them.
Back in Frankfurt, Herr Sesemann has returned home, and visits his beloved daughter Clara. Later, Sesemann and Fraulein Rottenmeier discuss Clara's deteriorating condition, and the strange child that had come to visit while Sesemann was away.
That evening, Sesemann asks his friend, the family doctor, if Clara will ever walk again. The doctor insists that the child's injury is psychological, and only a strong will to live will cure Clara.
Soon, Herr Sesemann sets off to Dorfli, and argues with Grandfather over Heidi; Sesemann feels that Heidi's presence in Frankfurt will not only be good for his Clara, but also offer Heidi a sophisticated education which she could not obtain here.
Grandfather, who has grown quite attached to the child, insists that Heidi can learn all she needs to know amongst the flora and fauna of this magical wonderland. Sesemann wins the day, however, and reluctantly, Grandfather agrees to let Heidi go with Sesemann.
A sad Heidi leaves with Herr Sesemann, and soon finds herself in the giant city of Frankfurt, where she meets the kindly Fraulein Rottenmeier.
Heidi then meets the bitchy Clara, who hates her right off the bat. Clara throws a tantrum, and Fraulein Rottenmeier suggests that Heidi leave the spoiled brat be for awhile.
The family doctor tells Heidi the story of Clara's tragedy. The doctor feels that Clara's outburst suggests that the poor girl may be on the verge of recovery. Heidi still wants so badly to go home.
Next day, Heidi joins Clara in her lessons, but her heart isn't in it. In fact, she runs out of the room crying. Later, Sebastian finds Heidi peering out the windows, looking for her mountains. Even from the highest window, she can't see them. Sebastian claims that to see her beloved mountains, Heidi would have to climb to the top of nearby St. Michael's church.
Heidi leaves the house, looking for St. Michael's. A street urchin with a monkey on his back offers to show her the way for a penny. Heidi and the urchin walk along the beautiful streets and alleyways of Frankfurt, but even at the church balcony, Heidi can't see anything.
On the way home, Heidi and the urchin find a basketful of abandoned kittens, and Heidi takes them with her.
Back at the Sesemanns', the family is waiting for dinner; Heidi is late. She soon shows up, with the urchin in tow. The urchin's monkey gets loose, and creates havoc at the dinner table. Clara laughs, for the first time in a long while.
That evening, Clara and Heidi become fast friends, and exchange secrets. Clara tells Heidi that her father and Fraulein Rottenmeier are in love! Heidi counters that she has been keeping a baby goat in the closet all along! The goat comes out of the closet, and starts a ruckus. Fraulein Rottenmeier comes in to see what the commotion is, and plays with goat along with the girls. Herr Sesemann too comes in to see what all the noise is about, but seeing the three females getting along famously, decides to leave well enough alone.
The next day is Fraulein Rottenmeier's birthday, but Herr Sesemann can't stay to celebrate. Clara and Heidi give the Fraulein a lovely new dress. That evening, Heidi tells Fraulein Rottenmeier how homesick she is.
Later, Herr Sesemann returns home, and meets Fraulein Rottenmeier in the parlor. They dance, and share a kiss. Embarrassed, Sesemann storms out of the room.
Next morning, Herr Sesemann grants Heidi a two-week visit to Dorfli, and Fraulein Rottenmeier announces her resignation. Herr Sesemann is distressed, but understands that the situation is now terribly awkward. He asks for Rottenmeier to accompany Heidi on her vacation, and she agrees.
Soon, Heidi and Fraulein Rottenmeier are in Dorfli. They are met by Father Richter. Heidi runs ahead, to Peter's house, and brings Peter's blind Grandmother a basketful of white bread. Fraulein Rottenmeier follows behind, exhausted.
Heidi reaches the cabin, and greets Grandfather, who is overwhelmed.
Grandfather is distressed when he discovers that Heidi is only to stay for two weeks.
Next day, Heidi meets Peter, who is disgusted by Heidi's "citified" ways. Heidi follows Peter on his travels. Heidi gathers flowers, and immerses herself completely in the country life she loves.
Meanwhile, back in Frankfurt, Clara is seriously depressed; she confesses to her father that she dearly misses Heidi, and wishes she hadn't been so mean to her. Herr Sesemann promises to fetch her back from the mountains.
Back on the mountain, Father Richter convinces Grandfather to try and fight to retain custody of Heidi, if he feels strongly about it. Heidi joins them. All three are sad, for they know that tomorrow is the day when Heidi has promised to return to Frankfurt.
Next morning, Heidi prepares to leave. Herr Sesemann arrives in due course, and he and Grandfather argue over custody of the child. Heidi intervenes, and says she must return to Frankfurt, "because Clara needs me". The men are taken aback by the selfless gesture.
Grandfather has a revelation; why not invite Clara to come live in the
mountains for awhile? The natural beauty and healthy environment might be good for her condition. Sesemann thinks this a fine idea, and runs off to fetch his dearest one.
That Sunday, Grandfather and Heidi attend church services in Dorfli, for the first time together, to everyone's surprise and joy.
That afternoon, Grandfather constructs a lovely pull-cart for their upcoming guest. Grandfather next explains to Heidi why he no longer plays the church organ he was once so proud of, and Heidi learns a valuable lesson about the power of irrational fears.
Shortly, Herr Sesemann, Clara and Fraulein Rottenmeier arrive by horse-drawn carriage. Heidi, Peter and Grandfather greet them all warmly. Soon, Heidi and Peter are pulling a delighted Clara around in her new wagon.
Herr Sesemann and Fraulein Rottenmeier find themselves alone. Rottenmeier reiterates her plans to leave the family, and Sesemann pleads that she stay. The distressed governess refuses, however, and Sesemann wanders downhill, an embittered man.
Grandfather finds Fraulein Rottenmeier standing alone, crying, and asks what's the matter. He senses the tension between the two lovers, and admonishes Rottenmeier, "if you really want something, you must reach out for it".
That night in bed, Heidi and Clara share secrets. Heidi tells Clara of the mysterious legends of the mountains. Clara reveals that a doctor once confided in her that the reasons for her illness were largely psychological, and was a way to punish her father for losing her mother, and not remarrying. Heidi finds this explanation bizarre and disturbing.
Next morning, Heidi and Peter frolic in the countryside, while Clara sits in her rolling wooden prison. Clara tries valiantly to rise up out of her cart, but the pain is excruciating. Heidi and Peter join Clara, and attempt to help her stand upright. Clara can't handle the pain, and gives up in sobs.
Later, Fraulein Rottenmeier arrives, and informs Clara that her father will be coming to pick her up today. Even worse, the governess tells the poor child of her leaving the family. Clara is distraught, and pleads with her beloved governess to stay.
Grandfather then tells Rottenmeier and Heidi to leave him alone with Clara for awhile. He gives the child a hand-carved walking stick, and preaches to the invalid that she simply must learn to walk, not merely for herself, but for all those who love her. Grandfather then leaves the frightened child alone.
Fraulein Rottenmeier and Heidi are horrified to find that Grandfather left poor Clara unattended, but he explains that he believes that Clara has all the inner strength she needs to conquer her physical obstacles.
Meanwhile, Clara is simply mortified at being left alone. Realizing she has run out of options, she gallantly tries to stand up. In so doing, she falls over, and the cart rolls downhill and off a cliff, leaving her truly stranded.
A weeping Clara crawls slowly, painfully along the ground, tormented by her personal demons. Slowly, ever so slowly, Clara gathers all her strength, and rises to walk. After a few hesitant steps, she looks up, and see her father staring at her in awe. This gives her the strength to go on, and the two run to each other and embrace.
Next morning, after church services, Grandfather decides it is time to confront his own fears, so he sits down once again to play his beloved organ. The townspeople rejoice in hearing the lovely music again. Even Heidi, who is standing on top of a mountain some distance away, hears the Grandfather's joyous tune, and smiles from ear to ear.
***
NBC's TV-Movie of HEIDI is an endearing, big-budget romantic melodrama, lavish in design and epic in scope. It is easily the "largest" production of Johanna Spyri's "Heidi" ever mounted, and features magnificent landscapes both rural and urban, a well-defined screenplay, exemplary acting throughout, and a magnificent music score.
The screenplay takes many liberties with the structure of the original book, keeping most events faithful albeit shuffling them around a bit, while adding a romantic subplot from out of nowhere.
Most strikingly, the former antipathy between master and servant is transformed into a bonafide romance between Herr Sesemann and Fraulein Rottenmeier, obviously inspired by the resounding success of the recent THE SOUND OF MUSIC. Fraulein Rottenmeier as played by Jean Simmons, is a lithesome, kind, entirely sympathetic character, in complete contradiction to Spyri's stern taskmaster. As well, Maximilian Schell's Herr Sesemann is less the kindly patriarch of the Spyri book, and more a dashing Christopher Plummer clone. (Also curious is painting poor cripple Clara as a little bitch, at least at first blush!)
Jennifer Edwards (famed director Blake Edwards' daughter) makes an exceptional Heidi, starting off as shy and awkward, and blossoming into a wise beauty before our very eyes. The distinguished Michael Redgrave makes a formidable Grandfather, bringing true theatrical greatness to this most august of roles.
There are some gorgeous on-location exteriors shot in what appears to be old Frankfurt, and this is only one area in which this HEIDI shines. Other filmed treatments either ignore the grand old city entirely, or give it short shrift in a few hastily-drawn cutaways; here, we linger on well-mounted scenes as Heidi and a street urchin pass by old buildings, cathedrals and stone walls, the streets peopled with authentic period characters. Here is big budget, used wisely.
The score by John Williams is simply exquisite, one of Williams' last good scores before he went Wagnarian with STAR WARS, and ruined film music for decades. (In another curious foreshadowing of STAR WARS, the end credits of HEIDI share the same forced perspective as the prologue crawls to George Lucas' woefully overrated space blockbusters.)
To us, the heart of this magnificent picture are the marvelous scenes depicting Clara learning to walk. Zuleika Robson is simply stunning in a most difficult role, combining unnatural physical movements with subtle and varied dramatic cues, and she performs brilliantly throughout. In fact, these final scenes are so realistic at times as to be almost unbearable, a sign of a completely successful scenario, and performance. Both the physical challenge, as well as its myriad symbolic analogues, are communicated with compelling passion and grace. We say "Bravo!" to Zuleika Robson's Clara.
Other scenes, more lighthearted, are nonetheless effective. The scene where the urchin's monkey gets loose in the staid Sesemann household is charming and lively, and indeed other animal-centered scenes (the unveiling of the abandoned kittens and Heidi's closet goat) are pleasant, lightly-sketched comic relief. There's even a "milking the goat" scene twixt Heidi and Peter which harkens back to the similar scenes in the 1937 Shirley Temple classic.
Unfortunately, HEIDI is famous not for its quality, but for a strange little moment it grabbed in pop culture history. We quote directly from a poster on The Internet Movie Database:
"This movie's claim to fame: On November 17, 1968, the New York Jets led the Oakland Raiders 32-29, with 50 seconds to go. It was the end of the hour, and even though the score was close, NBC switched over to the movie Heidi. In the next 42 seconds, Oakland scored two touchdowns to win 43-32. As a result, all NFL contests are now televised to their conclusion."
NBC would revisit their obsession with Heidi ten years later, with the wildly innovative THE NEW ADVENTURES OF HEIDI (1978), starring the delightful Katy Kurtzman.
HEIDI (1968) is either in the public domain, or freely licensed by its
copyrights holder; it is easily obtainable on any number of VHS and DVD labels, for new generations to enjoy. But don't let the cheap price fool you: this is a TV-Movie masterpiece.
Video/DVD availability: VHS, DVD (various)
(aka HEIDI KEFRT HEIM)
EPC / Omnibus-Biography Productions / Studio Hamburg Filmproduktion
National Broadcasting Company
Story: Johanna Spyri (from her novel)
Screenplay: Earl Hamner Jr.
Music by John Williams
Cinematography: Klaus von Rautenfeld
Production Executive: Allan A. Buckhantz
Produced by Frederick H. Brogger, James Franciscus, Gyula Trebitsch
Directed by Delbert Mann
