Why a Hollywood producer forced a supernatural ending onto a classic literary adaptation
In short: The 1939 film adaptation of Wuthering Heights is a masterpiece of old Hollywood, yet its iconic final shot of ghostly lovers was never in Emily Brontë’s novel. Producer Samuel Goldwyn overruled his director to include the scene, fundamentally altering how generations of viewers perceive the story’s central, tempestuous romance.
Directed by William Wyler and produced by Samuel Goldwyn, the 1939 version of Wuthering Heights condensed Emily Brontë’s 1847 novel by omitting the entire second generation of characters. While the film earned eight Academy Award nominations and a win for Gregg Toland’s cinematography, the production was notoriously fraught. Laurence Olivier and Merle Oberon reportedly detested one another, and Wyler’s grueling, repetitive directing style—which once required 72 takes for a single scene—initially infuriated Olivier before ultimately teaching him the nuances of film acting.
The film’s most controversial departure is its conclusion. In the final sequence, the spirits of Heathcliff and Cathy walk hand-in-hand, a visual representation of eternal love. Literary critic John Sutherland argues this was the polar opposite of Brontë’s intent. He suggests that in the original text, Cathy’s ghost haunts Heathcliff not out of affection, but as a protective, vengeful act to prevent him from disinheriting her daughter. Wyler reportedly hated the afterlife scene, but Goldwyn insisted on its inclusion, even using body doubles because the lead actors had already moved on to other projects.
Beyond the narrative changes, the film serves as a landmark in technical history. It was the first production to utilize the Mitchell BNC camera, a model that became the industry standard for the next half-century. Despite its production challenges and the debate over its ending, the film remains a critical success. It was selected for the National Film Registry in 2007 for its cultural and historical significance, and it continues to be cited as a quintessential example of the romantic drama genre, even if its somber tone once led some contemporary reviewers to worry it might leave audiences feeling depressed.
The film’s legacy is also tied to the casting that almost was. Vivien Leigh, then the partner of Laurence Olivier, campaigned for the role of Cathy but was rejected by studio executives who deemed her unknown in America. She was offered the role of Isabella Linton instead, which she declined, clearing the way for her to star in Gone with the Wind the same year.
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- Summary by Intellect · source: Wuthering Heights (1939 film)
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