“A woman can always tell when a man is going to propose.”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review: Note: It was interesting to learn, according to Dennis Morgan’s Trivia page on IMDb, that “During the 1940’s, for six consecutive years, Mr. Morgan received more fan mail than any other star (male or female) at Warner Brothers”; he was in plenty of titles, but few were apparently all that memorable.
Redeeming Qualities and Moments:
Must See? Links: |
“Did you ever see a bellhop who didn’t want to be a fighter?”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review:
It’s a good thing the film opens with a charming scene in which Davis expresses her long-time devotion to Robinson, so we’ll rest easy as Morris falls for pretty but bratty Bryan instead. However, it’s Davis’s and Morris’s well-being we care most about, which makes it a bit challenging to watch the narrative take pains to separate them (Davis’s nightclub singer is clearly too much of a “loose woman” to deserve an upstanding guy like Morris). Humphrey Bogart merely lurks menacingly on the sidelines:
… waiting for a chance for his rivalry with Robinson to catch fire, but doesn’t have much of interest to do. This film is more engaging than the 1962 remake with Elvis Presley, but not must-see viewing. Redeeming Qualities and Moments:
Must See? Links: |
“I do what must be done. That is what I know how to do.”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Response to Peary’s Review:
In Alternate Oscars, Peary gives the Best Actor award to Humphrey Bogart as Rick in Casablanca rather than Lukas in this film, noting that the “Hungarian Lukas was much better playing foreign villains in The Lady Vanishes and Confessions of a Nazi Spy than he was as leading men”: Peary asserts that Lukas’s performance here “is as shaky as the alcoholic Rick’s hand — at times he sounds like Bela Lugosi.” (Ouch!) Unfortunately, I’m in agreement with most of Peary’s points: this is indeed a stagy, speech-filled film, one which was likely excellent propaganda but hasn’t held up well as a drama (and is terribly acted by the kids).
With that said, I don’t find Lukas’s characterization “shaky”, and disagree with Peary’s assertion that Davis gives a “bad performance” — rather, her role is minor, and thus unusual for someone of her stature.
Redeeming Qualities and Moments:
Must See? Links: |
“I’m still rich — I’ve got my love for you!”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review:
The primary problem is that Jones’s character lacks the agency and ambition I recall being present in the novel: for most of the story, she seems to be simply reacting to forces beyond her control, and is presented as a pawn in the hands of deceptive men (and one resentful woman).
Olivier’s portrayal as George Hurstwood is more nuanced, yet we struggle to sympathize with him — especially as he, too, manipulates and lies to Carrie (Jones) simply to meet his own desires.
The production itself is nicely handled, with effective sets and cinematography, but film fanatics needn’t seek this one out. Redeeming Qualities and Moments:
Must See? Links: |
“Marriage, is it? To that washed out little Yankee? Pres is mine — he’s always been mine!”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Response to Peary’s Review: Redeeming Qualities and Moments:
Must See? Categories
(Listed in 1001 Movies You Must See Before You Die) Links: |
“There ought to be something timeless about a woman — something eternal.”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review: Redeeming Qualities and Moments:
Must See? Links: |
“The Lord forgives those who invent what they need.”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review:
Davis deservedly won an Oscar nomination as the middle-aged matriarch at the cold heart of the family’s treacherous scheme, and Wright makes a lovely cinematic debut as her good-hearted daughter. Also notable is Patricia Collinge in a small but memorable role as Reid’s alcoholic wife, who shares some of the family’s deepest truths while under the influence. Wyler’s direction and Gregg Toland’s cinematography effectively convey the claustrophia and heightened tensions of this “parlor drama”, which opens up occasionally into the town and other settings but primarily takes place within the cavernous family home. As DVD Savant writes about Wyler:
This one is well worth a look on multiple counts. Redeeming Qualities and Moments:
Must See? Categories
Links: |
“They claim we bombed and machine-gunned civilians, and are not entitled to be considered prisoners of war!”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review: Redeeming Qualities and Moments:
Must See? Categories
Links: |
“The diary, the diary… If it hadn’t been for that damned diary!”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review:
So — consider yourself forewarned. For a quick video overview of giallo films and how this title fits into its history, click here. Redeeming Qualities and Moments:
Must See? Categories
Links: |
“You’re sort of on the planters’ side now, and we’re the people who keep the country going.”
|
Synopsis: |
|
Genres, Themes, Actors, and Directors:
Review:
The storyline itself is an old but still-valid one of class conflict in a working town with — surprise, surprise — the owners of a cotton plantation taking systemic advantage of their employees to the point of generational destitution.
Racial issues are notably muted; this is about whites versus whites, with Barthelmess literally a malleable pawn passed back and forth between two equally icky social groups. Of course, we’re meant to sympathize with the put-upon workers, who turn to theft and arson out of desperation — but it doesn’t help that they’re played (in several notable instances) as backwoods caricatures. Barthelmess’s performance is as wooden as they come, and we don’t learn enough about his hometown sweetheart (Dorothy Jordan) to root for their success as a couple.
Davis really does stand out as the notable feature of this film; she would go on to be nominated for an Oscar two years and 12 films (!) later in Of Human Bondage (1934). Redeeming Qualities and Moments:
Must See? Links: |
