Best friends Karen Wright and Martha Dobie graduates from college. They decide to turn Karen's late grandmother's farm into a girls' boarding school. They are shocked to find the rundown farmhouse and they work to fix it up. Karen is dating amiable local doctor Joe Cardin although Martha does have a crush on him. Martha is confronted by her flighty aunt about her crush and one night with Joe in her room. After Karen punishes troublesome student Mary Tilford, she brings it all to a boil after running back to her grandma and spreading some ugly gossip.

Lillian Hellman reworks her 1934 play The Children's Hour into something just as juicy. The lesbian rumor could never be brought to the big screen at the time. While it's not quite the same, it still packs a punch in this emotional drama. Mary's cruelty is as devastating as ever. The last act gets reworked and it struggles to find the happy ending. There are a few stumbles in that last act as it rushes to wrap up. It should have ended with the three leaving the home behind without getting their vindication. That would have been a solid eight.

In Lillian Hellman's original play, THE CHILDREN'S HOUR, the scandal involved lesbianism--certainly NOT a topic they were allowed to address in Hollywood in the strengthened Production Code era. Starting around 1935, Hollywood bowed to pressure to clean up the movies and feature more wholesome images. While today some see this as a totally negative thing, you must understand that nudity, violence, crudeness and very adult topics were frequently used in films and there was no rating system. So, kids might go to the theaters and see rather graphic nude swimming scenes (TARZAN AND HIS MATE and BIRD OF PARADISE are good examples) or Frank McHugh giving someone "the finger" (PARATROOPER). As a result, SOME sort of system needed to be created, though I will admit some of the resulting products from Hollywood were a bit bland. In regard to THE CHILDREN'S HOUR, there was no way the studios would be allowed to discuss homosexuality during this era, so they changed the allegations to promiscuity between a man and a woman. This did NOT appreciably alter the play nor its impact and reportedly Miss Hellman was happy with the film despite this minor change--minor in that it resulted in only minor alterations to the script and kept the overall message intact.

The resulting film, THESE THREE, was produced by David O. Selznick, directed by William Wyler and starred Miriam Hopkins, Merle Oberon and Joel McCrea. With this terrific combination of talents and the Hellman script, it certainly isn't much of a surprise that the film was excellent throughout--and one of the better pictures of the 1930s. About the only negative at all about the play was the performance of young Bonita Granville. While generally very good (earning her an Oscar nomination),it was at times also a tad over-the-top--and she acted so histrionic that you wonder what sane person would believe all of her lies!!! If this had been toned down just a bit (making her a little more subtle),the film would have earned a 10. As it is, it's still a terrific film with an original and wonderful script.

I'm sure that Lillian Hellman when she sold the screen rights for The Children's Hour she had to know that her play about lesbianism would be totally changed by Hollywood. The Code was firmly in place now and even a subject that might be just hinted at would be forbidden now. For the three decades homosexuality could at most be discreetly hinted at.

Bearing that in mind These Three now changed to be just a heterosexual triangle with Merle Oberon, Joel McCrea, and Miriam Hopkins was a decent drama about the ill effects of gossip. And the gossiper received an Oscar nomination.

Oberon and Hopkins are teachers at a girl's school and Oberon is keeping company with Doctor Joel McCrea. But one night quite innocently McCrea is seen with Hopkins where they live by one of the girls. Bonita Granville had been chastised earlier on so now the evil little teen starts some gossip and as a result These Three have to defend themselves against something non-existent. That's usually the worst thing you ever have to defend yourself against, something totally made up.

William Wyler directed this one with sensitivity and taste. And he lived long enough to direct the real version of The Children's Hour in the Sixties. Miriam Hopkins appears in both in different roles.

Bonita Granville got an Oscar nomination for Best Supporting Actress in the first year Supporting players were categories. But she lost to Gale Sondergaard playing a wicked adult in Anthony Adverse.

It's a good film but not as good as The Children's Hour. How could it be?