Note: This release of Harvey is part of the Jame Stewart Collection boxset which includes Vertigo, The 39 Steps, Rear Window, Harvey, Winchester '73 and Destry Rides Again. Any recommendations for the release should be taken in the context of the whole boxset not the individual release:
It’s always something of a shame when the movies of a previous generation are remembered only through their parodies. For all the critical acclaim that Ingmar Bergman’s ‘The Seventh Seal’ has been given over the years, most people aged 18-30 would recognise it only because it’s a bit like ‘Bill and Ted’s Bogus Journey’. Remember that bit in ‘Wayne’s World II’ when he crashes the wedding and bangs on the glass window? Apparently that’s from some sixties flick called ‘The Graduate’ starring Captain Hook as a sexually awakened post-college youngster.
Continuing the theme, the inclusion of a supposedly imaginary anthropomorphised rabbit in Donnie Darko (the Echo Boomer generation’s ‘2001: A space Odyssey?’) was not so much a homage, but more of a big fat rip off of Jimmy Stewart’s 1950 classic Harvey. Of course, a few details had to be changed – Donnie’s bunny ‘Frank’ was firstly called ‘Frank’ (otherwise the lawyers would have had a field day) and, more sinisterly, portrayed as a disgusting creature that nobody would want to bump into late at night. Harvey is anything but.
James Stewart is Elwood P Dowd, a happy go lucky alcoholic who just happens to spend his days talking to, what would appear to be, an imaginary 6’3’ white bunny. When his sister (played by Josephine Hull, who won an Oscar for her role) finds his over-friendly and liquor fuelled ways are making it virtually impossible to marry off her daughter, she decides that the only way to ensure her family’s welfare is to cart Elwood off to the sanatorium.
Anyone who’s seen any movie ever (especially scarier-than-it-should-be Wizard sequel ‘Return to Oz) should be fully aware that silver screen mental institutions never correct those who are committed; they merely allow them to carry on their fantasy at the expense of others. Thank god. In this instance, Auntie Veta herself sees the inside of the padded cell, with Elwood walking free with Harvey by his side.
Unsurprisingly, once the mix-up is realised, the rest of the film is something of a witch hunt, with the aim of removing the liberty of Mr Dowd and any visions he has of this rabbit. Psychiatrist Dr Sanderson (Charles Drake) and his assistant Miss Kelly (Peggy Dow) are roped into catching him, and once they manage it, they quiz him about Harvey in an attempt to get to the bottom of his imaginary friend. That there is no specific rhyme or reason for why an inebriated grown man should have an imaginary pet-come-pal is the turning point in the movie, and results in the moving finale.
The film was originally written and performed as a play, with Stewart in the title role for some six months – a fact that becomes all apparent when watching the movie itself. The sets themselves are theatre-like in construction, with very little movement around them from the characters. However, whether this was because of budget restrictions or not, it works extremely well and results in the dialogue being brought to the forefront of the film, and therefore the issue of Elwood’s battle with alcoholism and his ‘inner demons’ (or rabbits) is on full display throughout.
Which is a lot more than can be said for the title character himself. Other than the aforementioned Donnie Darko, the inclusion of a more-than-knowing wink to Harvey had been attempted before, in Bruce Willis and Elijah Wood flick ‘North’. However, the main difference between Harvey and the films which have sought to copy the ‘big bunny’ gimmick is that, in the latter, the bunny has been depicted on screen; whereas the real Harvey is never seen by the audience. Sure, we see doors opening and closing, and Stewart’s playing around the invisible friend (no doubt perfected on the stage), but we never glimpse even a whisker of Elwood’s tall eared companion and this is the picture’s greatest asset. Much like a reader can imagine the scenes and characters for themselves when ploughing through a novel, so the unknown Harvey becomes something that the viewer can project their own image onto.
With James Stewart steeling the show (although very almost upstaged by his invisible counterpart), there isn’t that much of a chance for the other actors to make that much of an impression. Josephine Hull may have been recognised by the Academy for her portrayal of Aunt Veta (Dowd’s sister), but fifty five years later, there is nothing particularly dazzling about the role. Elwood, on the other hand, is brilliantly shown as a man who should be in crisis, yet is too blissfully unaware to even care. The last few moments of the film are an excellent summary of this, and display surprisingly liberal attitudes for 1950s America.
Harvey is not a masterpiece, nor is it severely disappointing. Removing itself from mediocrity by sensitively covering the issues of alcoholism and mental illness with the respect that they deserve, it is a film that everyone should see at least once - maybe twice.
The DVD
The only extras that feature on the disc are the original theatrical trailer and a Photographic montage with a 1990 commentary from James Stewart, which is insightful and well worth watching if you enjoyed the main feature. From his time performing Harvey in London, to the production of the movie itself, the 82 year old Stewart reflects on his time spent with an imaginary friend.
In terms of picture and audio quality, the black and white film is presented in 4:3 aspect ratio and the transfer is of a decent quality. Ok, there are quiet a few blips and scratches throughout, but this is what you expect with a film of this age and if it bothers you too much, what the hell were you doing buying it in the first place?