So, I was a bit hesitant to dive into The Citadel, to say the least; it’s based on another supposed classic novel, and proudly announces this by having the film’s title represented on the cover of a large book on several of the film’s posters, and seeing how well “classic” literary adaptations have gone over with me so far on this Best Picture odyssey, it really shouldn’t surprise me too much that I’ve been putting this one off as much as I have. Well, having finished it now, it wasn’t necessarily worth me putting it off the way I did, but neither is it really worth going out of your way to see. All in all, it has its positive qualities, but unfortunately it shares a few negative ones with prior literary Best Picture nominees, and even with King Vidor as director, it doesn’t manage to escape from under these influences.
The Citadel is the story of Andrew Manson, a newly minted doctor who is granted a position as an apprentice to a doctor in a Welsh mining town, where he quickly becomes interested in the recurring cough plaguing the miners for years and tries to use his idealism to solve the problem. The miners, however, take offense to Manson’s refusal to capitulate to them by not giving them the near-placebo medicines they want, and end up trashing the lab Manson had set up to try and figure out how to combat the illness. His idealism shattered, he moves to London and falls in with the crowd of doctors he had been trying his whole career not to be, until a tragedy comes to affect him and hopefully set him back on the proper course. I think the best way to look at The Citadel is to see what the film’s selling points are, and how well they hold up. First off is the star Robert Donat, who was nominated for this role (and, largely, I suspect solely for the closing speech his character gives at the end of the film), and who does an admirable job of, well, being admirable and charming, but it works, especially given the British setting of the film. Second is King Vidor and his steady hand at much of the proceedings of the film, and though I’ve definitely seen better work from Vidor, I still appreciated his managing to take another semi-obscure (for the modern era) literary source and make something salvageable from it. So, why does it seem that I’m so tepid in regards to trying to come up with things to praise about the film? Well, because I am; this film, even though it wasn’t technically bad, still managed to fall under the class of “nothing films” that plague the nomination fields of Best Picture from this era. There was no point to sit down and watch this for, other than it got nominated for Best Picture, and again, while it wasn’t really poor, there was nothing at all to make it stand out and get one to say ‘Wow, am I glad I saw that movie’.
It’s the literary source, I suspect, that is where most of the problems with this film really lie. The Citadel comes across as some kind of strange mix of parts of Anthony Adverse, with the literary sources and focus on the main character as he tries to live his life, and Arrowsmith, with the film’s narrative focusing on the medical field and the main character’s desire to right the wrongs he finds present in the field as such. It’s thus a bit of a surprise that The Citadel manages to be better than both of those two films, if only slightly, but still, the weight of the source material’s shortcomings seemed, to me, to be too much for Donat, Vidor, and the film itself to overcome, try as they might. This is unfortunately just another box to be checked off the checklist, and it saddens me to put it that way, for all the film’s effort to actually be fairly good. Oh well; moving on, then.
Arbitrary Rating: 6/10