Reviews (15)

Some Fascinating Themes
A woman steals her sister's husband, drives him to his ruin, divides her family, and nearly destroys the life of a young man in a film directed surprisingly by John Huston. Bette Davis, at her most unsubtle, is the selfish Stanley, a woman bent on having fun and getting what she wants at the expense of all around her. Olivia de Havilland is her level-headed sister Roy, who loses the most at the hands of her sister. George Brent and Dennis Morgan are the men in their lives, although neither actor makes a particularly strong impression. The supporting cast of welcome character actors like Charles Coburn, Billie Burke, Lee Patrick, and Hattie McDaniel contribute their usual expert performances. But it's hard to get noticed in a film where Davis cuts loose even more than usual, her famous eyes afire as she plays the bad girl to the hilt and then some, in an endless state of agitation and drama. However, give credit to de Havilland, underplaying her character and keeping the film rooted, matching her co-star with a strong performance that displays her skill, especially when she is simply reacting to her sister's devious nature. The film is very melodramatic, and some of the dialogue is pretty stilted. But it's never boring. What's also fascinating is the portrayal of the family's maid's son, a young black man helped by de Havilland who wants to be a lawyer. He's presented as intelligent, ambitious, and very decent. He must have been one of the first positive black characters to be featured in a major film and it's great to see it. Equally fascinating is the almost incestuous relationship between Davis and her uncle Coburn. Not much is done to hide the sexual overtones in Coburn's doting. In This Our Life is a memorable melodrama aided by the performances of its lead actresses and its unusual themes.

For an Oldie, its a Goodie
This is a great old movie if you like to watch the bad girl get her comeuppance in the end. Okay, so its melodramatic, but in older movies that's fine with me. Bette Davis plays Stanley, the spoiled, self-absorbed, totally selfish sister to Olivia de Havilland's Roy, the good-hearted, long-suffering sister.

I asked my elderly mother if she had ever seen this movie and when she said she had not, I told her she should watch it. Bette Davis is so bad in this movie. As soon as it ended my mother said thoughtfully, "You know, there really are people like that." I had to agree with her.

Olivia de Havilland is much prettier than Bette Davis, but Davis was famous for playing spit-fires and drama queens. And de Havilland had played Melanie Wilkes in "Gone With The Wind" only a few years before this film, so it was easy casting.

Husband stealing, suicide, manslaughter, false accusations, its all here.

Dysfunctional When Dysfunctional Wasn't Cool
This family is a mess,complete with lying,spouse-stealing, and incest, and Bette Davis' character Stanley is the worst of the lot. StanleyTimberlake has to be one of the most repulsive characters ever to make it to the screen. Bette Davis makes her believable, though. Olivia deHavilland is the good sister, refreshingly calm and sane amidst the turmoil. Her family consistently ignores deHavilland's character, Roy, as they obsess over spoiled rotten sister Stanley's "happiness."
Through it all, Roy maintains a dignified composure, even when Stanley takes off with her husband. You wonder how she does it in the pre-Prozac era.
This movie is loads of fun to watch, if you can tolerate lots of melodrama. Surprisingly enough for a film made in this era, the Black characters areportrayed as some of the very few morally grounded, decent, rational people in the whole mess.
Perry and his mother are the only ones out of the whole lot whom I would care to know. Stanley is much too eager to try to pin a crime of which she is guilty on the upright Perry, and it is far too easy for her to almost suceed.I found myself wishing that Perry would reach through the prison bars and belt Stanley in the mouth. But he maintains his composure, in spite of the fact that Stanley seems perfectly willing to let him spend the rest of his life in prison for a crime of which she is guilty.
It is perversely amusing to watch the Timberlake family and their associates( all of whom ought to have wised up long ago) gasp, "But Stanley wouldn't LIE!"
You wonder where they've been all this time.
If you like Bette Davis melodrama, you will LOVE this movie. It doesn't get any more melodramatic than this.

Bette Davis At Her Nasty Best
What other actress except Bette Davis could tackle such a totally unlikeable character as she does in "In This Our Life", and yet still keep the viewer riverted to everything she says and does? With her speciality being playing bitchy, manipulating Grande Dames Bette Davis has a field day in the role of Stanley Timberlake and through the course of this movie dumps her fiance, breaks up her sister's marriage, causes her husband to commit suicide, tries to pin the blame for a fatal car accident on an innocent man and finally succeeds in killing herself in a car accident. Too much plot for one film? Well when you sit down to engulf yourself in "In This Our Life", it all seems to have an almost logical flow to it, however incredible the proceedings may be.

"In This Our Life", despite it's melodramatic premise has quite a distinguished pedigree in that it is based on the Pulitzer Prize winning novel by Ellen Glasgow. She was later to disown the finished product on screen as based on her work and indeed many of the wild plot terms seem to owe more to Hollywood screen writers than prize winning novelists. Wild it is indeed but highly watchable as we see yet another satisfying teaming of the two very different actresses, Bette Davis at her selfish and wicked best, and Olivia de Havilland in her usual sensible controlled persona. "In This Our Life", relates the story of the torturously intertwined lives of two very different sisters Stanley and Roy Timberlake. The strange use of male names for the female characters results from their weak willed father Asa (Frank Craven) having wanted sons instead of daughters. Indeed Stanley is like a man in many respects as she lives her life according to her rules, refuses to be dictated to or told what she can and can't do. Her personal satisfaction and enjoyment are all that matter and others around her suffer as a result. First we see Stanley grow bored with her devoted fiance attorney Craig Fleming (George Brent in one of his eleven teamings with Bette Davis), only to set her eyes on her sister Roy's handsome husband Peter Kingsmill (Dennis Morgan). Breaking up their marriage Stanley goes away with Peter only to find in turn that she doesn't like the fact that Peter cares about his work and leaves her alone a great deal. Gradually the marriage disintergrates and in the blame setting that Stanley carries on against Peter, who has developed a drinking problem, she succeeds in driving him to suicide. Returning to her forgiving family which even includes the understanding sister who's life she completely ruined, Stanley very quickly sheds her widow's garments and immediately sets her selfish sights again on Craig. This is useless as Craig has in the light of Stanley's rejection of their engagement looked else where for companionship and found it in the calm and loving Roy. Undaunted Stanley still sets up a date with Craig at a roadside Diner and when he doesn't turn up her rage knows no bounds. Faced for the first time in her self centred life with the fact that she can't have who or what she wants, Stanley goes on a drinking binge that results in her loosing control of her car while driving killing a mother and child in the process. Faced with the prospect of a jail term Stanley then in her worst act of malicious wrong doing places the blame for the accident on the young son Parry Clay (Ernest Anderson) of the families black maid (Hattie McDaniel in another small but fine performance).Taken into custody Parry is adament that he is innocent and was at home at the time of the accident, a story backed up by his honest mother. The known facts arouse the suspicion of both Roy and Craig who now decides to defend Parry against the charges and in the finale they both confront Stanley with the known facts which squarely place the blame at her feet. Stanley aces everyone however by driving off in a panic and after selfishly trying to get help from her uncle (Charles Coburn) regardless of the fact he has just been told he has a short time to live, succeeds in crashing the car and killing herself.

Directed by John Huston fresh from his triumph with "The Maltese Falcon", here he seems a little unsure of his material resulting in Bette Davis being allowed a field day in the emoting department. The two clashed repeatedly during filming over everything for characterisation to lighting and hair styles which translates onto screen in Davis's frantic, no holds barred playing of this very unsavoury character of Stanley. She is mesmorizing as the villianess of the piece who destroys the happiness of all those she comes into contact with but it is an exhausting performance that doesn't create a lot of audience sympathy like some of Bette Davis' other villianess's do. Her work with Olivia de Havilland is excellent however and de Havilland's determined underplaying as Roy up against the tornedo of Davis' Stanley is beautifully modulated. It is to her great credit that her performance stands out as a high point of "In This Our Life", up against the more showy part played by Bette Davis. The two would get to swap roles years later in another excellent teaming when de Havilland played the villianess to Davis' victim in the classic "Hush Hush Sweet Charlotte". "In This Our Life", while certainly a Bette Davis show, also boasts a fine supporting cast of players from the excellent Charles Coburn as Stanley's almost "too familiar" Uncle William in scenes that reek of sexual undertones uncommon in 1942, to Billie Burke in a small very non traditional performance as Lavinia Timberlake the shrewish invalid wife of Asa who has seen the family fortune being drained away from her husband by his brother William. Hattie McDaniel and Ernest Anderson as previously mentioned are outstanding in their roles and Anderson in particular gains real stature in the car accident scenes defending his innocence against Stanley's attempted cover up of her guilt.

Melodramatic nonsense? Perhaps, but highly watchable nonsense presented in the best possible way. Bette Davis herself never liked this particular film made right in the middle of her greatest years as the Queen of Warner Brothers Studios. There is however I feel much to enjoy in "In This Our Life". While not Bette Davis' greatest performance it is still excellent despite alot of her excesses on screen. It really displays star power at work and Bette Davis had no equal in playing nasty, manipulating characters on screen. Unlikeable she may be as Stanley Timberlake, but a less perfect fit for actress and role could not be found. Enjoy the machinations of a spoiled southern girl out to get what she wants in life no matter what the cost in John Huston's "In This Our Life".

A great film!
I very highly recommend this film. It is entertaining and very good. I think it's one of Bette Davis' best pictures. It is a film that really keeps your interest. ... Read more

Description

In World War II Washington DC, scientist Pat Jamieson's assistant, Jamie Rowan, enters a loveless marriage with him. Struggles bring them closer together. ... Read more

Reviews (8)

Platonic Love
Spencer Tracy and his dog look for suitable premises. He does research work on behalf of the Air Force who entrusts him with the development of a new oxygen-mask. Katharine Hepburn's house meets his requirements and the young widow is impressed by his charm. They have one thing in common: Both of them repress their carnal appetite. HE is disappointed ("She was vivacious, amusing aand dull") while HER marriage brought her a fullfilment she thinks is impossible to relive. Tracy plays the piano (Schubert) and listens to her biography ("I was born in 1917" is not entirely truthful but Hepburn looks beautiful with her pigtails). When he treats her with contempt - her world-weariness is in his eyes nothing but self-complacency - she would have turned him out, but his lab is already equipped, military supplies arrive - and not even Katharine Hepburn can say "no" to the Ministry of War. Infected by his patriotism she offers her services as assistant and guinea-pig and proposes to him. Not love will be their basis but "honesty, courage and humor". He would have turned her down but his ex is on his track and revenge is sweet...So Tracy assures Hepburn of his honorable intentions and gives her a peck on the cheek and she gives him a peck on the cheek - and so they seal their deal.

Their business connection is fertile...fecund...fruitful: she spends her time in a pressurized cabin and when he reduces the pressure she turns a somersault. Their conjugal connection does not take place: they implore a friend to stay during their wedding night and when Tracy goes astray - in Hepburn's bed - she is willing to buy his justification: somnambulism! Spring arrives, two lovebirds (Lucille Ball & Keenan Wynn) bill and coo and Hepburn decides to bring competition (a latin lover) into play...

...and you can guess the rest. The last half hour could have been less plodding, but there is an imaginative scene when Hepburn mimics Tracy's ex - long cigarette-holder, feathers-boa, affected french accent - because she thinks he finds this type of woman sexy. The funniest moment: Tracy transports his dog - in a suitcase with an oxygen-mask! The title "Without Love" is misleading: Tracy & Hepburn flirt without intermission...

LIGHTLY AMUSING.
The wartime housing shortage is the the excuse which brings the legendary duo together in this one: Tracy is a homespun scientist working on a helmet for high-altitude flying, and Hepburn is a widow with a big empty house in Washington D.C....One of the more mediocre films in the Tracy-Hepburn series; it has a rather metallic flavour. Hepburn comes off as being something between an old maid and a tomboy; she's at her most annoyingly cultured and affected here - but she keeps exclaiming "by gum'(!) The direction by Harold S. Bucquet is pedistrian and the dialogue tries to be sophisticated, but it doesn't match the plot maneuvers (such as the one requiring Tracy to be a sleepwalker: in the movies it's almost as tacky as amnesia). Philip Barry fashioned the play for Hepburn when she just barely sqeaked by with it on Broadway in 1942. Donald Ogden Stewart re-wrote much of the material for the screen and the result was a box-office success in 1945. In the second leads, Lucille Ball and Keenan Wynn are, in actuality, much more likable.

By Gum!
Not Hepburn and Tracy's best, but still a funny, pleasant comedy. Hepburn is Jamie Rowan, a widow living in the past, whose basement scientist Pat Jamieson (Tracy) wants to use to construct a government-commissioned oxygen mask for World War II pilots. The two decide to marry platonically and help each other as partners. But it's only a matter of time before love begins to complicate the marriage...

Though the plot is a little creaky and predictable, Hepburn and Tracy shine, as always. Keenan Wynn and Lucille Ball, however, are the standouts as the second leads. Both hilarious and touching, they add comic zest to the film and make you come away from it thinking it's better than it actually is.

Tracy & Hepburn marry to help the win World War II
This third pairing of Spencer Tracy and Katharine Hepburn is a welcomed return to comedy after the dark anti-fascist effort "Keeper of the Flame." Hepburn plays Jamie Rowan, a widow with a very large house in Washington, D.C. during the war. Tracy is Pat Jamieson, a scientist working on a helmet for high-altitude flying for the military, who desperately needs someplace to do his work since there is such a housing shortage in the capital. The rather contrived solution is that the two of them should have a platonic marriage, hence the title, and although Jamieson is a confirmed bachelor without much use for women, he accepts. Otherwise there would be no movie, right? Of course, Jamie Jamieson (cute, huh?) helps her husband with his work and eventually the two of them notice what all of their friends and the viewers already know: this "without love" thing is not going to work.

"Without Love" is the third Hepburn film based on a stage play by Philip Barry but is certainly quite different from the setting among the snobbish rich that made "Holiday" and "The Philadelphia Story" so unique. The play was adapted to both the screen and the Tracy-Hepburn tandem by Donald Ogden Stewart. The 1945 MGM film was directed by Harold S. Bucquet, who had co-directed Hepburn's previous film, "Dragon Seed."

The storyline is certainly far fetched but everybody has fun, and Tracy proves himself as comfortable with farce as he is with more dramatic roles. Of course, the inevitability of their happily ever after makes the initial lack of chemistry somewhat unbelievable. This approach works much better in "Pat and Mike," but the Tracy-Hepburn team would really reach its heights with MGM when were finally old enough that the courtship part would be jettisoned and we would get right to the husband and wife heavyweight fight (i.e., "Adam's Rib").

Finally, I must comment on the impact this film had on the reputation of Lucille Ball (who had made "Stage Door" with Hepburn before the war) who was then known as the Queen of the B-Movies. It seems that several critics of the day thought she might have a new career for herself in comedy, which only goes to show that not all critics are complete idiots.

Without Love and With Lucy
I hadn't heard much about this Spencer Tracy/Katherine Hepburn pairing, so I didn't know what to expect. It wound up being a fun movie, if a little unbelievable. Tracy stars as a scientist and Hepburn is the owner of the home where he sets up shop. Both have had difficult experiences with love in the past and have decided they are against it. For convenience sake and since they are compatible, they decide to marry, believing that a marriage without love could work. Since it's Tracy and Hepburn, the viewer obviously suspects something different. The movie is amusing, and apart from the real chemistry of the two leads, it also benefits from a wry performance by Lucille Ball as Hepburn's real estate agent. It may not be the greatest film of Tracy and Hepburn, but it is worth watching nonetheless. ... Read more

Amazon.com

One of Humphrey Bogart's earliest starring vehicles, this 1936 melodrama typifies the Warner Bros. touch in its modest but potent production values and Depression-era social acumen. Prompted by contemporary news reports of new neofascist groups targeting political and religious minorities, the script conjures up a shadowy, Klan-like organization preying on factory workers to set them against blue-collar immigrants. Bogart is Frank Taylor, a hard-working drill-press operator hoping for a promotion that can help him better provide for his adoring wife and cherubic young son. Frank's coworkers reassure him he'll snag the foreman's post, but when a studious young Polish American gets the nod, Frank's bitter disappointment sets the stage for the tragedy that follows.

What proceeds in this 83-minute feature is a pointed morality play about tolerance and democracy. The legion's rank and file invoke a "free, white, and 100 percent American" future in justifying their scare tactics, which hound Frank's rival out of town, briefly gaining him the coveted job. But his deepening involvement in the mob soon drives wife and son away, costs him his job, and ultimately spurs him to murder his best friend, Ed (Dick Foran). Indicted for the murder, Frank is nearly acquitted by a crooked defense team funded by the corrupt businessmen who are bankrolling the legion (more to profit off the sale of robes and revolvers than to incite any real political change), but his climactic, cathartic pang of conscience brings the tale to its moralistic end.

Bogart, who dutifully marched through dozens of features before graduating to true stardom, gives the simplistic story its modest power through a credible performance that traces Frank's descent from streetwise but principled worker to angry, disillusioned thug. The supporting cast also includes Ann Sheridan, likewise fine in an otherwise two-dimensional role as Foran's wife. --Sam Sutherland ... Read more

Reviews (4)

Still relevant
"Black Legion" is a startlingly relevant and compelling drama about a factory worker (played by Humphrey Bogart) who is pursuaded into joining a bigoted, violent secret society when he loses a job promotion to an immigrant's son.

This secret society is called the Black Legion. They operate much like the Ku Klux Klan did in the 1930's. The Black Legion members wear hooded costumes (similar to the KKK's). Its members also claim to be "patriots" who want to rid America of "foreigners" who are successful in their community and who they perceive as a threat to their livelihood. (Again similar to the KKK.)

"Black Legion" unflinchingly examines the brutality, ignorance, and prejudice of these self-appointed "patriots" who use hardworking immigrants as scapegoats for their own lack of ambition and success.

This movie also exposes the greed which was a motivating factor in recruiting new members into the Black Legion. With more members, the Black Legion could prosper financially since all who joined were required to pay dues and to provide other services for this violent group.

It is truly disturbing that the same kind of hatred which infected groups such as the Black Legion still exists today in the form of a revived Ku Klux Klan and the emergence of various white supremacist groups. Although such fringe elements are small in number, their message of hate and intolerance can still hurt people.

The "Black Legion", made in 1937, is a brave movie which pre-dates the civil rights movement. It vividly illustrates the cowardice and hypocrisy which drives groups such as the Black Legion. And its story gives us hope that hatred and violence can be conquered when decent people summon the courage to confront and punish evil-doers.

A Brutal Film For The Thirties
Humphrey Bogart stars as Frank Taylor, a factory worker who wants to be the next foreman. When he is passed over for the promotion he was counting on by a young, eager Polish American, his frustration and anger leads him to join the Black Legion, a group of racists out to punish anyone who isn't "100% American". He keeps this activity a secret from his wife Erin O'Brien Moore and his best friend Dick Foran. But before long, his life starts to unravel because of his association with this group, leading to a lot of tragedy, death, and heartache. I was impressed to see that a major studio like Warner Brothers took such a direct look at a hate group in 1930's Hollywood. The scene where Bogart takes the group's pledge particularly surprised me with its subtle brutality. Bogart is very good in this film, one of the few actors of his time that could have made this character seem believable. The supporting cast, which also includes a young Ann Sheridan as Foran's fiancee, all give good performances as well. The film is tough, presents a hate group as frankly as a 1930's film could, and although a little preachy at the end, delivers its message well.

Well-done Warner Bros. social drama
Humphrey Bogart owns this movie about a Ku-Klux-Klan-like organization that takes it upon itself to inhibit "foreigners" from competing with the local "American" work force. How many actors in the '30s could (or would) be willing to portray the craven Taylor, a machinist jealous of the new foreman whose job he intended to have, and who eventually joins the ranks of the Black Legion for the thrill of exacting vengeance on Eastern Europeans, Irish, or anyone perceived as an outsider threatening American jobs? Bogart is pathetic, harrowing, poignant, and acts with such depth of feeling that he emerges from the screen like a relief carving. It anticipates his role as Fred Dobbs in Treasure of the Sierra Madre. Already he's one of a kind, even in this early social drama that Archie Mayo and Warner Brothers were so good at executing in the '30s. I could look at the glistening machine shop all day and the eerie Black Legion gowns are a true menace in this richly photographed black and white movie. Hard to believe and incredibly sad that such an absurd and tragic theme as crusading masked bigotry remains pertinent to this day.

A True Story
This movie is a gripping account of a very real problem that affected the Detroit automotive industry in the 1930's. The editorial review states that "the script conjures up." This movie is no conjure job. It tells a true story. My father, originally from Kentucky, went to Detroit to work in the automobile factory in the 1930's. While he was never in the Black Legion, he had enough stories to tell about it. I recommend that everyone watch this movie once. ... Read more

Amazon.com

This is a far cry from The Thin Red Line, but it's engaging and efficient World War II propaganda about the opening of the South Pacific campaign that would ultimately turn the tide of the war. Anxious and unsuspecting Marines land on the Solomon Islands and quickly learn how to engage the Japanese in foxhole warfare. It's full of archetypal characters (tough sergeant Lloyd Nolan, Brooklyn cabby William Bendix, lusty Mexican Anthony Quinn, and gravel-mouthed Lionel Stander) and well-staged battle scenes. There's even a battle-weary narration to provide authenticity and historical perspective. All around, a good grunt film. --Bill Desowitz ... Read more

Reviews (11)

Entertaining Movie, Bad History
Guadalcanal Diary is exactly what you'd expect to come out of Hollywood during the war--high on fluff and propaganda, low on substance. While it's true that some of the events in the film are based on real events, many are not. None of the Japanese attacks, like at the Tenaru and Bloody Ridge, are depicted though they're mentioned in the film. To have included these hair-raising night battles would've made the movie much more realistic and entertaining. With the exception of the ill-fated Goettge Patrol, what you have instead are fictional battles. For instance, the marines never did launch an offensive on the 10 November, the Marine Corps' birthday.

Guadalcanal Diary, however, does create the general feel of what it was like to fight on Guadalcanal, though nobody in this film is ever hungry, sick, or unshaven! You do find an excellent depiction of the Battleship bombardment on 13 October as well as some superb air raid scenes. This movie would have been much better if it was strictly based on the time-frame of the book (late July - 26 September). Too bad the movie didn't depict real battles and real people. It's still fun to watch, though. If you like war movies, you'll like this flick.

A well-made "flag waver", which also entertains.
Set apart by its realistic portrayal of the struggle for Guadalcanal from most other "flag-wavers" made during World War 2, this film is also most entertaining. Marines live and die in this film, and the Japanese also certainly die, as you would expect. The black and white photography and narration by Richard Tregaskis (an actor really) give the film a documentary realism. For civilian audiences, this film must have seemed absolutely real to them. However, while the Marines on the 'canal were literally starving to death for a while, the actors in this film stay remarkably healthy looking. Also, they shave every day. The cast is top notch. You'll recognize many past and future stars from it. Richard Jaeckal (the MP Sergeant in The Dirty Dozen ) started his film career in the movie. Guadalcanal Diary is a fine example of the World War 2 film, made to bolster civilian morale during the war years. It is well worth seeing and owning, as a piece of cinematic history.

"boys with a memory of death in their eyes"
Based on Richard Tregaskis' popular book of his account of the action at Guadalcanal, when the first detachment of U.S. Marines landed in the Solomon Islands in August of 1942, this is a tough and gritty war film with a sturdy ensemble cast, who do a wonderful job of recreating the diverse characters in the story, from Anthony Quinn who dreams of his señoritas, to the young Richard Jaeckel, who is always writing home to mom.
Preston Foster, William Bendix, Lloyd Nolan and Richard Conte are the other actors that contribute to make the film interesting, along with the narration by Reed Hadley which contrasts with the everyday speech of the dialogue and at times is quite poetic.

Enduring the humid jungle, often plagued with torrential rain, and at one point running out of food and needing reinforcements, the narrator says of October 10th, "...for we are tired, after days of heat and rain, dust and disease, mud and malnutrition, weeks of constant fighting...", the film depicts a lot of heroism, the caring for one another, and much patriotism.
The battle cinematography by Charles Clarke is visually exciting, though all very sanitized, as none of the intense fighting is graphic, and one must remember that this is a 1943 film, and the language used is far from politically correct; those who can't put it into historical perspective should avoid seeing it.
Total running time is 93 minutes.

Well staged war movie
This account of the struggle to retake the South Pacific island of Guadalcanal from the occupying Japanese army in World War two is marked by superbly staged battle sequences .It -uniquely for the period -eschews the standard gung ho flag waving that marked most Hollywood war movies of the era (understandably ,in my book given the circumstances)and depicts a very matter of fact view of the average soldier's life in combat situations.
The acting honours are stolen by the under-rated Richard Jaeckel but there is sterling support from reliable performers like William Bendix,Richard Conte ,Lloyd Nolan and the great Anthony Quinn.
A war movie showing rare honesty and integrity .

Just Want To Go Home.
Set in the early days of WWII in the Pacific, the film follows a unit of Marines as they battle everything from disease and treacherous terrain to just being tired of not being at home. The Marines go from one battle to another, fighting to stay alive and keep there hopes up. There is a rogue Sgt. (Lloyd Nolan), a simple cab driver from Brooklyn (William Bendix), and a troubled Marine (Anthony Quinn)! With well done battle's and a outstanding script, this film is considered to be one of the best films done during WWII! If you can put aside that it was made in 1943, and it is not as realistic as it would be today. It is sure to get the message across and deliver the goods. One of the best war films of all time!
Grade:A ... Read more

Reviews (7)

a star is born
This was John Garfield's first part in a film, and it made him an overnight star; the audience loved him, and he broke the mold of the leading man image, with his surly arrogance, and brooding look. The film also changes tone from a sweet family film, to a melodrama, when he makes his entrance 1/3 of the way into the plot. He plays a talented but down-and-out pianist, a man whose attitude makes him a perennial loser.

Based on a Cosmopolitan Magazine story, "Sister Act", by Fannie Hurst, and directed by Michael Curtiz, it features the lovely Lane sisters, Gale Page, and Claude Rains, as a musical family that also includes May Robson as the very amusing "Aunt Etta".
Priscilla Lane is the sister with the central part, as she is the one in the love triangle between Garfield, and Jeffery Lynn. Lynn is excellent, and had the looks that the movie studio thought would assure him stardom, but though he was in several fine films, seldom had top billing in them.

Nominated for the 1938 Oscars in the categories of Best Picture, Best Supporting Actor (Garfield), Best Screenplay and Sound, it has a fine Max Steiner score, a few musical numbers, and wonderful performances. It is an entertaining classic which is sometimes touching, always charming, and a must for Garfield fans.

pre-Brando, pre-Dean, the 1st "rebel" = John Garfield
This was the first "Rebel Without a Cause" and it was released before World War II. "Four Daughters" came out in 1938. This was John Garfield's first movie role. When he first appears on screen, about one-third of the way into the film, the mood of this movie changes, big time. What was a light and simple movie becomes actually somewhat dark and even complex. Garfield creates a character on screen that captures your attention and keeps you guessing. The other key characters all seem to be living in a kind of fantasy world, the world of "Father Knows Best", while Garfield appears alone, dark and disconnected from everyone and living in the world we know today as film noir.

Clearly Brando, Dean, and those "rebels" that followed in the 1950's movies were copying the style, the mood, the look of John Garfield from this film. He was the first young movie "rebel" who is alone and searching for meaning in his life and having a tough time. What a surprise to find a dark character like this in a movie that starts off so happy and go-lucky.

Enjoy the film.

a great movie.
I very higholy recommend this one. Claude Raines plays the father of four daughters. It's romantic as well as dramatic. In my opinion John Garfield is the best in the film, and really makes the film worth seeing all the more. He plays a misunderstood and romantic composer.

A standout amongst the time period
So you start this movie thinking it's going to be another happy go lucky late 1930's flick with singing and romance. everything is going nicely, with everyone headed towards a predictable ending when all of a sudden, John Garfield shows up, exuding sex appeal and bringing in a character who seems awfully out of time, in a very good and interesting way. then you're watching a different movie. this flick is out of its genre, and what was an easily forgettable movie becomes something very different. Unfortunately, cooler heads prevail, and the young Lemp daughter, who followed her heart and ran off with Garfield's self loathing Mickey, returns to her safe home and the stable mediocre composer. Oh well. I love this movie anyway, for it's entertaining, if sometimes sad, story. A depression era picture in that it takes place in a happy town, with a happy family who are obviously not hit by hard financial times, (except for Mickey, but he's never had good luck anyway) and actually doing well. The story never gets too serious or realistic. Watch it for John Garfield. Some say he's the best part of the film (my view) or that he's the one thing that brings it all down, so there's a contraversy going on. Judge for yourself, or have a party and debate with friends. either way, the guy did go on to have a pretty excellent career, until he was labeled a communist and died prematurely of a heart attack. Check him out when he was new and different.

Three Lanes and A Page
Claude Rains stars as the father of four pretty, musically talented daughters who learn all about the complications of love. The Lane Sisters - Lola, Priscilla, and Rosemary, along with Gale Page, play the loving sisters. Of these, the non-Lane, Page, gives the best performance as the down-to-earth oldest sister, pursued by one man, but in love with another. It's a quiet, touching performance. The men in their lives are Jeffrey Lynn, Frank McHugh, Dick Foran, and John Garfield. Garfield is easily the standout among the boyfriends, his hardened-by-life musician a precursor to the Method actors of the Fifties. In a way, he clashes with the idealized family presentation and sweet goodness of this unbelievable family, yet it also helps to ground the film in reality. It is sentimental, but everyone performs earnestly and the music adds to the atmosphere. It's a very easy way to spend ninety minutes. ... Read more

Reviews (3)

Junkle Craptive
I'm sorry. I hate to say it, because I am a Universal Monsters junkie. But this is the nadir of Universal's horror output. It is much more like a PRC cheapie than one from Universal.
A budget *slightly* bigger than PRC might have employed is evident, but hardly anything monster-related happens until the last five minutes. And then it's a predictable 'so-what?'. Jungle Captive is something of a police procedural, when it doesn't just consist of IOWA (Idiots Out Wandering Around).
The cast includes no one of note, which also hurts a great deal. Rondo Hatton as a movie's marquee draw is not the stuff of which Hollywood classics are made. So we are left with the pulchritude of Vicki Lane (prettier even than Acquanetta but without even her acting abilities), and she is covered in black fur sometimes (but not often, and not until late). Jungle Captive's molasses-like narrative is beyond the capacity of her finely-formed features to save.
There were problems with each of the first two movies in the Ape Woman trilogy (Captive Wild Woman's stock footage and Jungle Woman's leaps in logic and inability to better copy Lewton's formula), but they retain a great deal of silly charm all the same. This one is just plain dull.
Horror was for all intents and purposes dead and buried, until the nuclear age spawned new terrors for damsels to be carried off by. (Woo-hoo!! Giant spiders!!!)
(Did I use enough parentheses in this review?)
P.S. I'm really very sorry. Please don't revoke my Universal Monsters Club Card.

Attack of the "B" People.
This is the final entry in the "Ape-Woman" trilogy from Universal's fright factory. To nobody's surprise, this isn't cinematic art. As a thriller with a modest budget, it serves the purpose. The dark-eyed Acquanetta is gone, and Vicky Lane replaces her as Paula Dupree, the woman with the simian alter-ego. (As if anyone knows Vicky Lane). In a smart move, one of our favorite "B" people, Rondo Hatton, is present as Moloch, Stendahl's assistant. Hatton suffered from a disfiguring bone disease, and he played horror roles without makeup. He is the brute killer with a yen for the attractive young woman the insane Stendahl (Otto Kruger) uses as a captive blood donor to pump the inert Ape-Woman full of human blood. The Ape-Woman is revived and dreadful death ensues amid typical '40s cliches. The spooky fright makeup appears in several scenes. The hirsute she-beast is truly a shambling nightmare. Classic horror fans will have fun with the quasi-werewolf story combined with Frankenstein elements. Serious collectors of classic horror need this one. Don't think about it, just enjoy the nonsense. ;-)

Low grade horror film
This is a low grade horror film so bad it's entertaining. Last of the Paula the ape woman trilogy it's not as dull as "Jungle Woman" and not as mechanical or loaded with stock shots as is "Captive Wild Woman" One of my guilty pleasures. ... Read more

Reviews (8)

A diverging story brought together under crime...
The Fabrini brothers, Joe (George Raft) and Paul (Humphrey Bogart), are truck drivers that struggle to make it on their own as a loan shark is on their heels trying to repossess their truck . It all seems futile as Joe and Paul's competition is full of bigger companies that do not care about the smaller companies as it is a dog eat dog world. This forces the Fabrini brothers to work long hours often without adequate sleep. One night after a rough day Joe and Paul pick up a hitchhiker, Cassie Hartley (Ann Sheridan), and together the three of them witness a truck accident where some friends die as they fell asleep behind the wheel. This is a wake up call for the brothers as they have different priorities in their lives, and it brings them in different directions. They Drive By Night is an interesting film with multiple themes, which offers a good cinematic experience

"The doors made me do it! The doors made me do it!"
This awesome classic starts out as a drama about the hard lives of truckers but ends up being a sort of film noir! Ann Sheridan was perfectly cast as a sassy independant woman, & I loved seeing George Raft & Humphrey Bogart playing brothers! And of course let's not forget Ida Lupino, one of the best (& craziest) femme fatales of all time! Also there's Alan Hale, who adds a whole lot of humor to the mix! I won't go into the plot b/c other reviews have fully explained the plot, but I will say that you definitely need to add this gem to your dvd collection! Be aware that the real star of the film is George Raft, despite the misleading cover art, which tries to cash in on Bogey's fame. This wasn't disappointing to me at all, though. I thought George Raft was cool! I highly recommend this to fans of great classics.

A Hidden Gem!
They Drive by Night was so much fun to discover! Anyone who likes old movies will enjoy seeing this one. With Bogie as George Raft's little brother, working together as truckers, and the wonderfully wicked Ida Lupino married to the blissfully ignorant Alan Hale, this movie was a joy to watch from start to finish.

Dynamic Lupino!
When I first watched this movie, I was only mildly interested in the first part which shows how hard life is for two trucker brothers (Raft and Bogart). Only when Ida Lupino is introduced as the off-kilter, man-killing Lana Carlson did I really sit up and take notice. She continued to steal all her scenes as she degenerates into madness after killing her buffoon of a husband for the cold Raft character. Her gradual breakdown is something to see and electrified audiences in l940. When she begins to shriek on the witness stand: "The doors made me do it!", you freeze in amazement at her powerful acting. Her "mad" scene was phenomenal. A note: compare her portrayal of the man-crazed heroine to the way Bette Davis portrayed her in the original, the l934 "Bordertown". Davis always bragged that the quiet way she went crazy on the stand was the right way but after seeing how Lupino did it, you'll think that Davis was wrong. Sorry, Bette, but Lupino did it a l00 times better and a hell of a lot more powerful. Lana Carlson--one mixed-up, crazy dame from Warner Brother's golden days--thanks to the genius of Ida Lupino!

Watch Lupino Go
They Drive By Night has a lot going for it. It's directed by Raoul Walsh, who knew how to make a tough guy movie, yet give it some heart. It has two of the screen's great tough guys, George Raft and Humphrey Bogart. It also has two of the screen's best tough guy girlfriends, Ann Sheridan and Ida Lupino. And it has some really great dialogue that time has not dated. It's the story of two truckers who are brothers, and it looks at the difficulties facing truckers (sleeplessness that can lead to accidents, suppliers that don't pay up, etc). Bogart and Raft are good as the brothers, although Raft doesn't have much of a range as an actor. Raft hooks up with Sheridan, a woman who can hold her own with any trucker. Sheridan plays her with just the right mix of outward toughness, but decency and tenderness, too. Unfortunately, Lupino wants Raft, and she won't be denied what she wants. Lupino gives the performance that you'll remember from this film. She becomes more intense with every scene, and by her last scene, she reaches a level that is amazing to behold. With Lupino's performance and the great dialogue, They Drive By Night is a Warner Brothers' film that should be seen. ... Read more

Reviews (17)

The End of the Road
I've had the advantage of seeing The Petrified Forest as a movie and on stage. Taking into account the fact that the stage production I saw wasn't the greatest, I still think that the movie version captured the story better. The story is dated and clearly belongs in the time period it was made, but that works in the film. The performances also work. Leslie Howard, sort of a forgotten Thirties' star these days, manages to make some difficult dialogue play well. Humphrey Bogart, in an early role as the young gangster, makes his character an interesting and sympathetic figure, despite not having many moments to really develop the character with dialogue. Bette Davis brings a lot of conviction to her role as the young, full of ideas waitress that Howard falls in love with. The Petrified Forest is a hostage drama, but it's more than that. It looks at life, growth, love, and disillusionment. It presents a nice contrast of characters, since Howard and Bogart are both at the end of their roads, having gotten there in very different ways. Bearing in mind that the film/play was written for an audience in the Thirties, today's movie fan will still find truths and entertainment in it.

Should Be on DVD!!
I taped The Petrified Forest a couple of years ago when it was shown on TCM and I thought it was a very good movie! Bette Davis plays a young woman who lives in a desert town with her father and works as a waitress in his desert cafe, she is bored and would love to leave home and go see the world! A disillusioned writer played by Leslie Howard stops at the cafe and she falls for him but when a criminal played by Humphrey Bogart and his gang are on the run from the law they hide out in the cafe and hold everyone hostage. This is a good movie and I like that Bette Davis is playing a nice girl who is sweet and compassionate when it seems that she was generally known for playing ruthless, cold and calcuating women so this is a nice change. I recommend this movie, I don't think it's been put on DVD yet but I really think it should be put on DVD!

Fascinating film debut for Humphrey Bogart
Actually, this was not quite Bogart's debut. He had been in a few utterly forgettable films in tiny roles in the early 1930s before returning to Broadway, but this is his "real" debut.

THE PETRIFIED FOREST had been a highly successful stage play starring Leslie Howard and Humphrey Bogart, and Warner Brothers wanted to do a film version of it. They therefore approached Howard with the offer, indicating that they would like to have him reprise his starring role, and have him star opposite Edward G. Robinson as Duke Mantee. Howard, however, indicated that he would only make the film if his Broadway costar, Bogart, played Duke Mantee. At this point in his career, Bogart's acting career had consisted primarily in playing juvenile parts in various plays (the famous line "Tennis anyone?" is perhaps mythically attributed to one of his roles, but sums up the spirit of onstage persona) and failed attempts to break into film. Playing Duke Mantee had been a dramatic departure for Bogart, who had never previously played a heavy. Luckily for film history, Howard insisted that he would not make THE PETRIFIED FOREST unless Bogart played Mantee.

Historically, the most important thing about this film is that it launched Bogart's film career. Although he would spend the next four years playing a huge number of gangsters, he was, nonetheless, after this film, a Hollywood mainstay, becoming the number four gangster in the Warner Brother stable after Robinson, Cagney, and Raft.

THE PETRIFIED FOREST is, however, entertaining on its own. The one great negative of the film is the fact that it is very obviously a film version of a stage play. The action of the film is limited to only a few locations, and overall the production has a very static feel. Although there are some interesting sets, with some fascinating painted backdrops of Arizona landscape (some of it was shot live, but most of it is done in a studio), the real interest in the film lies in the performances. Leslie Howard made far too few films for my taste. I know he was deeply involved in the stage, but he was both immensely talented and quite charismatic. Unfortunately, his bizarre death cut his talent off far too soon (during WW II, the Luftwaffe shot down a plane he was in, thinking that a military or political VIP was on it). Bogart is striking as Duke Mantee. Bette Davis is as enjoyable in this as any film I have seen her in. I have to confess that by and large I don't care for Bette Davis. She has a tendency to over enunciate every word in a way that is not merely unnatural but a little unnerving. She never seems at ease on screen. She always seems to be "acting." Still, she is well suited to this role.

Leslie is the star, but Humphrey's the cover guy? Strange...
I could sum this up in a very brief paragraph, and I will, because it simply did not thrill me to the depths of my soul, leaving me appropriately petrified.

Bette Davis was fine. Leslie Howard is, as usual, a watery intellectual, this time turned hitchhiker. Humphrey Bogart is the tough guy whose entire role required little more than sitting pointing a gun at people. The others were unremarkable.

This movie wants so much to live, and love, and be loved, but there is nothing to be found for it - not here nor anywhere else. It longs to be buried somewhere in the Petrified Forest, where the winds can blow over it, and perhaps - being so chocked full of dramatic, poetic statements, some will leak out from its grave, and the occasional tourist will hear the gentle whisper, "'Tis for this end that we twain are met!"

Let this movie rest in peace.

Classic Story of Good vs. Evil Battle -- One of the Best
Humphrey Bogart and Leslie Howard reprise their stage roles as "bad guy/good guy" in this ever timely tale of greed and ruthlessness vs. selfless and compassionate courage. Caught in the middle of this age old story is a young Bette Davis, who in the course of hours learns to love the "hero", never stopping to despise the evil enemy.

The setting is a diner, suddenly held-up by Bogart, who eventually shoots and kills the kindly Howard who 'dared' to stand up to the bully (mainly to protect Davis). The helpless waitress (with the universal 'dream' to get away and make a better life for herself), sees the crisis as a 'sign'. Before dying, Howard makes Davis the sole benefitiary of a modest insurance policy, which Davis tearfully accepts.

This film lives on in Cinema History as one of the true classics of all time. The transition from stage to silver screen was sucessful, especially when considering that the story was made available to a much greater audience. This is a highly recommended 5-star film!***** ... Read more

Reviews (4)

Green Hornet Strikes Again!
The company known as Video Treasures has done it. They have successfully raised a film from the dead A long, long, time ago a list was published called "The Lost Sound Serials" GHSA was one of them. There was no hope to ever see this story again, until Anchor Bay makes a fine print brought fromk Universals original film negatives. As for the movie, it's good but not great. Warren Hull brings more dignity to the role of GH. Keye Luke is a passable Kato, but expect no Bruce Lee, Kato rarley gets into a fight. The story is full of action, adventure and heart stopping cliffhangers. It's great fun for children and adults.

The Green Hornet Strikes Again
Warren Hull replaces Gordon Jones in the lead role in this sequel to The Green Hornet. Hull, who is best known in his role as The Spider and who also played Lee Falk's Mandrake is a welcome improvement for Jones. Keye Luke returns as the sidekick Kato. Y'know next to Clark Kent's glasses as a disguise, how could you not figure out who the Green Hornet and Kato was. A white guy and an oriental kinda stands out, huh? But, despite the lame secret identity (you have to suspend some disbelief), this is a fair serial despite it's Columbia label (sorry, but I have a real prejudice for Columbia serials). It contains a fair amount of action, a good cast and some semblence of a story. If you want to view Hull's best work, however, find a copy of "The Spider Strikes" and avoid at all costs "The Spider Returns."

Lots of action
Fran Striker, co-creator of The Green Hornet radio show, was script supervisor and two actors, William Hall and Jay Michael were from the popular radio show. Hall was the voice of radio's Hornet for a time. So what we see here is a first-rate serial that really tried to be faithful to the radio series.

ALMOST BETTER THAN THE GORDON JONES SERIAL
Britt Reid the Grandson of Dan Reid nephew of The Lone Ranger,is a masked crime fighter like his "Famous" Great Uncle whose mask is to strike fear into the hearts of the criminals of his city. Resoursefull,well funded,and aided by his faithfull servent and sidekick Kato,The "Green Hornet" rides across the city in the "Black Beauty"a car,But like his famous ancester does not want to kill but disable his prey,not with Silver Bullets but a gas gun.Actor,and 50s game show host Warren Hull does a nice job with the material,and keeps the legend alive. Great fun either in episodic form or as a feature film. A breif footnote;prior to the Second World war,Kato was a Japanese,but not so mysteriously became Phillipino at the outbreak of War. On Radio the character was created by George W. Trendle of "The Lone Ranger" fame. Should you ever be able to hear the old radio show I know you will like them as well. ... Read more

Reviews (5)

Hayworth glows, movie blows
Oh, to ponder what better vehicles Columbia Studios could have come up with for their reigning love goddess. Here we have a dazzling Rita thrown into a horribly written and directed musical. The dance numbers are poorly staged and the songs are bottom of the barrel swill. The final number "People Have More Fun Than Anyone" is possibly the worst song I've ever heard- both lyrically and musically. Sounds harsh but it's true. There's not one dance that really utilizes Hayworth's unique strengths as a dancer(a shame since her character is the Goddess of dance) There's hardly any opportunity for her to strut her natural stuff. Sure, there are moments, like in the beginning when she comes "Down to Earth" and dances her way into rehearsal wowing producer Parks and company. I just wish she wasn't wearing that ugly green dress. It would've been nice if she wore casual shorts and a form-fitting blouse like the other girls. The two men that accompany Rita look like hobbits. Who are these guys? How did they get passed casting? There is another scene later on where she's surrounded by gladiator-clad men and does a few "Gilda" type moves - sensually playing with her hair and looking ravishing. The Technicolor on this newest DVD release looks great. You'd never know this film was made 57 years ago. In a nutshell, I put on my headphones and listen to my favorite CD's(30's jazz), turn the volume off this movie and watch Rita dance in slow motion - in the process, elevating certain moments of the flickering Hayworth to high art. Without question, the most exciting bonus feature is the trailer for "You Were Never Lovlier". We actually get to witness several seconds of a dance to the title tune by Fred Astaire and Rita Hayworth that was cut from the film. Some moronic studio head said 'it held up the story'. It begs the question, does this number exist in it's entirety in some film vault waiting to be uncovered? I've been reading about it for years-but so little is known or ever mentioned. All I can say is...Wow! Fred and Rita sparkle in beautiful black & white and display a series of voluptuous turns and sensual dips. Cinematically classic. Also shown, a quick couple of seconds from the "Shorty George" number not seen in the movie. What an unexpected and delightful treat.

UP IN THE CLOUDS OVER DOWN TO EARTH
"Down to Earth" is a bizarre musical sequel of sorts to a non-musical film called "Here Comes Mr. Jordan." It stars, then Columbia Pictures reigning love goddess, Rita Hayworth who is miscast (but amusingly so)as Terpsichore. But the Greek 'muse' is none 'amused' when she learns that she and her sisters are to become the kitsch and lampoon subjects of a Broadway musical. Assisted by the heavenly MC, Mr. Jordan (Roland Culver) and a messenger(Edward Everett Horton), Terpsichore - renamed Kitty Pendleton - comes "down to earth" to play herself in the Broadway show and set the record straight. This is one of those mindlessly engaging, good humor bits of business that Hollywood used to excel at during its heyday and it's ably aided by performances from James Gleason, George Macready (of "Gilda" fame) and William Frawley (Fred, from "I Love Lucy"). The songs aren't memorable, but they are splashy and exciting and the script ably covers all of the bases with panache and great fun.
THE TRANSFER: Gorgeous. Columbia's film elements are in top notch condition and the picture quality of this DVD will not disappoint. The image is crisp and vibrant, with bold colors, bright whites and rich, velvet blacks. Contrast levels are excellent. There is some slight shimmering of color in certain scenes, due to the vintage of the print, but nothing that terribly distracts from your visual enjoyment. Digital artifacts are not a problem. Age related artifacts are present but not glaringly so, for a generally smooth visual presentation. The audio is MONO but nicely balanced.
EXTRAS: Please, this is Columbia!
BOTTOM LINE: This isn't one you'll always remember but its certainly an enjoyable little romp through musical La-La land, and, with the lush and lovely Miss Hayworth at hand, its more than easy on the eyes. Add this one to your library.

Fair Musical - Fabulous Rita, boring Larry, poor Songs !
This is for me the Rita Hayworth movie which had the great
opportunity of being her biggest hit after Gilda but the film
a) had no Astaire or Kelly to match Rita's A quality
but only Larry Parks ( so dull that it's a shame )
b) no songs from Kern, Gershwin or Porter but rather stupid songs
where not one song became a hit (...)
c) had no good dance numbers
Otherwise the story is a pleasant fairytale and Rita Hayworth is
as beautiful as she can be, that's why it is still worthwile to watch it.

Charming & Etherial - A Lost Genera
This is one of my favorite Rita Hayworth movies. This musical represents a lost genera of the silver screen with its innocent, charming and etherial content and style. I especially loved the variations of "Swinging the Muses."

Charming Rita Hayworth movie
What can I say? I just love this movie! This is a charming musical featuring Rita Hayworth and Larry Parks. This is a beautifully choreographed movie that deserves a better fate than the mediocre ratings the critics gave out. Rita dances and looks more stunning in color. What more can you ask for? See for yourself. ... Read more

Reviews (8)

Platonic Love
Spencer Tracy and his dog look for suitable premises. He does research work on behalf of the Air Force who entrusts him with the development of a new oxygen-mask. Katharine Hepburn's house meets his requirements and the young widow is impressed by his charm. They have one thing in common: Both of them repress their carnal appetite. HE is disappointed ("She was vivacious, amusing aand dull") while HER marriage brought her a fullfilment she thinks is impossible to relive. Tracy plays the piano (Schubert) and listens to her biography ("I was born in 1917" is not entirely truthful but Hepburn looks beautiful with her pigtails). When he treats her with contempt - her world-weariness is in his eyes nothing but self-complacency - she would have turned him out, but his lab is already equipped, military supplies arrive - and not even Katharine Hepburn can say "no" to the Ministry of War. Infected by his patriotism she offers her services as assistant and guinea-pig and proposes to him. Not love will be their basis but "honesty, courage and humor". He would have turned her down but his ex is on his track and revenge is sweet...So Tracy assures Hepburn of his honorable intentions and gives her a peck on the cheek and she gives him a peck on the cheek - and so they seal their deal.

Their business connection is fertile...fecund...fruitful: she spends her time in a pressurized cabin and when he reduces the pressure she turns a somersault. Their conjugal connection does not take place: they implore a friend to stay during their wedding night and when Tracy goes astray - in Hepburn's bed - she is willing to buy his justification: somnambulism! Spring arrives, two lovebirds (Lucille Ball & Keenan Wynn) bill and coo and Hepburn decides to bring competition (a latin lover) into play...

...and you can guess the rest. The last half hour could have been less plodding, but there is an imaginative scene when Hepburn mimics Tracy's ex - long cigarette-holder, feathers-boa, affected french accent - because she thinks he finds this type of woman sexy. The funniest moment: Tracy transports his dog - in a suitcase with an oxygen-mask! The title "Without Love" is misleading: Tracy & Hepburn flirt without intermission...

LIGHTLY AMUSING.
The wartime housing shortage is the the excuse which brings the legendary duo together in this one: Tracy is a homespun scientist working on a helmet for high-altitude flying, and Hepburn is a widow with a big empty house in Washington D.C....One of the more mediocre films in the Tracy-Hepburn series; it has a rather metallic flavour. Hepburn comes off as being something between an old maid and a tomboy; she's at her most annoyingly cultured and affected here - but she keeps exclaiming "by gum'(!) The direction by Harold S. Bucquet is pedistrian and the dialogue tries to be sophisticated, but it doesn't match the plot maneuvers (such as the one requiring Tracy to be a sleepwalker: in the movies it's almost as tacky as amnesia). Philip Barry fashioned the play for Hepburn when she just barely sqeaked by with it on Broadway in 1942. Donald Ogden Stewart re-wrote much of the material for the screen and the result was a box-office success in 1945. In the second leads, Lucille Ball and Keenan Wynn are, in actuality, much more likable.

By Gum!
Not Hepburn and Tracy's best, but still a funny, pleasant comedy. Hepburn is Jamie Rowan, a widow living in the past, whose basement scientist Pat Jamieson (Tracy) wants to use to construct a government-commissioned oxygen mask for World War II pilots. The two decide to marry platonically and help each other as partners. But it's only a matter of time before love begins to complicate the marriage...

Though the plot is a little creaky and predictable, Hepburn and Tracy shine, as always. Keenan Wynn and Lucille Ball, however, are the standouts as the second leads. Both hilarious and touching, they add comic zest to the film and make you come away from it thinking it's better than it actually is.

Tracy & Hepburn marry to help the win World War II
This third pairing of Spencer Tracy and Katharine Hepburn is a welcomed return to comedy after the dark anti-fascist effort "Keeper of the Flame." Hepburn plays Jamie Rowan, a widow with a very large house in Washington, D.C. during the war. Tracy is Pat Jamieson, a scientist working on a helmet for high-altitude flying for the military, who desperately needs someplace to do his work since there is such a housing shortage in the capital. The rather contrived solution is that the two of them should have a platonic marriage, hence the title, and although Jamieson is a confirmed bachelor without much use for women, he accepts. Otherwise there would be no movie, right? Of course, Jamie Jamieson (cute, huh?) helps her husband with his work and eventually the two of them notice what all of their friends and the viewers already know: this "without love" thing is not going to work.

"Without Love" is the third Hepburn film based on a stage play by Philip Barry but is certainly quite different from the setting among the snobbish rich that made "Holiday" and "The Philadelphia Story" so unique. The play was adapted to both the screen and the Tracy-Hepburn tandem by Donald Ogden Stewart. The 1945 MGM film was directed by Harold S. Bucquet, who had co-directed Hepburn's previous film, "Dragon Seed."

The storyline is certainly far fetched but everybody has fun, and Tracy proves himself as comfortable with farce as he is with more dramatic roles. Of course, the inevitability of their happily ever after makes the initial lack of chemistry somewhat unbelievable. This approach works much better in "Pat and Mike," but the Tracy-Hepburn team would really reach its heights with MGM when were finally old enough that the courtship part would be jettisoned and we would get right to the husband and wife heavyweight fight (i.e., "Adam's Rib").

Finally, I must comment on the impact this film had on the reputation of Lucille Ball (who had made "Stage Door" with Hepburn before the war) who was then known as the Queen of the B-Movies. It seems that several critics of the day thought she might have a new career for herself in comedy, which only goes to show that not all critics are complete idiots.

Without Love and With Lucy
I hadn't heard much about this Spencer Tracy/Katherine Hepburn pairing, so I didn't know what to expect. It wound up being a fun movie, if a little unbelievable. Tracy stars as a scientist and Hepburn is the owner of the home where he sets up shop. Both have had difficult experiences with love in the past and have decided they are against it. For convenience sake and since they are compatible, they decide to marry, believing that a marriage without love could work. Since it's Tracy and Hepburn, the viewer obviously suspects something different. The movie is amusing, and apart from the real chemistry of the two leads, it also benefits from a wry performance by Lucille Ball as Hepburn's real estate agent. It may not be the greatest film of Tracy and Hepburn, but it is worth watching nonetheless. ... Read more

Reviews (2)

The Bumsteads go on a cruise. Penny Singleton sings!
This is the 8th film in the series of 28 (1938-1950). Alvin (Danny Mummert) is nice enough to visit the Bumsteads and give flowers to Blondie. He has a poem to read titled, "The Bumsteads Go To South America". The Bumstead family gets to go on a six-week cruise to South America thanks to Mr. Dithers. Well, a telegram comes for Mr. Dithers. To close a deal at the office, someone must be at the office Tuesday. This is Mr. Dithers health cruise, so that means Dagwood (Arthur Lake) must leave the ship to be at the office. After all Mr. Dithers is Dagwood's boss. But Dithers insists on Blondie (Penny Singleton), Baby Dumpling (Larry Simms) and Daisy too to stay on the ship with him with his compliments. Dagwood says a tearful goodbye. Well, as you will see, Dagwood doesn't quite make it ashore. He is still on the boat and is trying to hide from Mr. Dithers. Baby Dumpling meets a little girl (Janet Burston) and they sing a duet. Penny Singleton gets to sing three beautiful songs and dances too. The next film in the series is BLONDIE IN SOCIETY.

The Bumsteads in a good musical comedy. Lots of fun for fans
This entry in the "Blondie" series stands out from the usual run because of its elaborate production values and its emphasis on music. "Blondie Goes Latin" is a full-fledged musical, with Penny Singleton singing two songs and dancing up a storm, Arthur Lake doing energetic drum solos, Ruth Terry and Tito Guizar vocalizing individually (and Terry is terrific!) -- even Baby Dumpling, Mr. Dithers, and Daisy try dancing! Not much plot -- the family's cruise vacation is disrupted when Dagwood, having to find a client on board, is drafted into the ship's orchestra -- but never mind the plot, enjoy the music! Followers of the series will definitely greet this with enthusiasm, and movie-musical fans will find lots to like, too. ... Read more

Description

George Zucco (The Cat and the Canary) stars in this campy, supernatural horror story. Zucco plays a crazed archeologist intent on protecting the fabulous Aztec treasure he has discovered. The professor invokes the Aztec god Quetzlcoatl, an ancient serpent, to guard his bounty. Soon, however, his paranoia leads him to turning the beast on anyone he thinks is a threat to his fortune. ... Read more

Reviews (5)

What an Interesting Feather...
George Zucco plays the villain in this little film. The story is very similar to Lugosi Devil Bat but more rural.

Zucco has found a Quetzalcoatl and keeps it captive. The serpent bird is very protective of its feathers. Zucco collects them and gives them to those he has a grudge against. The creature is then released which attacks the holder of the feather. Of course good triumphs over evil as it usually does in these old films.

The effects of the creature and its flights are actually quite sophisticated. Zucco does his usual good job as the villain and gets good support from the rest of the cast.

A fun old B-film that holds together well even after all these years.

Great movie, bad audio quality
A great classic PRC Pictures cheapie. The only drawback is the audio quality of the disc.

The infamous flying bird/lizard monster movie from PRC
"The Flying Serpent" terrorizing everyone in this infamous Poverty Row Company production is Quatzalcoatl, the killer bird god of Aztec legend. However, when the monstrous puppet on strings shows up it is something of a welcome relief from the overacting of George Zucco as Professor Andrew Forbes, a demented archeologist who discovers the monster really exists. When he makes the mistake of giving his wife (Hope Kramer) one of the bird's feathers, only to see the monster track her down and kill her, he decides this is a golden opportunity to take care of some of his enemies. My favorite scene is when the reporter covers a couple of the murders live on the radio. This is one of those gloriously bad horror movies from the past; you have probably seen the cheesy monster at some point, so you might as well check out the rest of the story. This 60-minute 1946 film is credited on screen to director Sherman Scott, but that is just one of the pseudonyms used by Sam Newfield (the other was Peter Stewart). Newfield needed the cover because he was turning out a dozen films a year at that point in a career where he made over 200 films including a high of 23 in 1943. The obvious double-feature choice for "The Flying Serpent" is "Q," Larry Cohen's 1982 cult classic that deals with pretty much the same story.

Somewhat passable, for a grade Z effort
THE FLYING SERPENT has no aspirations of greatness. But it does have the coolly sinister George Zucco! A bargain-basement remake of another poverty row classic THE DEVIL BAT, this film passes the hour (running time: 59 minutes) serving up mild amusement. Zucco pretends to be innocent, but we all know (and so should everyone else in the movie) that he's behind the strange killings that are always preceded by the discovery of an unusual feather. Zucco's (admittedly average) performance really is the only thing that makes it worth a view.

As a lover of old low budget horror films, I give this one a "weak but fun". I'd recommend a rent instead of a buy, though, because the DVD is not a good value for the money. The picture quality is decent but the source material's quality is not very good. There are no significant extras included. It's only an hour long. Add those facts to a too-high list price, and you're best advised to buy it only if you KNOW you must have it.

great horror film from poverty row's best studio
George Zucco is excellent(again) as a mad scientist is this adapation of PRC's earlier effort Killer Bat (starring an aged Bela Lugosi). By leaving a beautiful feather from an ancient Mayan prehistoric bird by any intended victim, the angry bird kills that person in order to retrieve it's coveted feather. Great atmosphere shots with Zucco in cave with caged bird, and cool but clumsy shots of the serpent flying and attacking. This is not a B picture, but a Z picture (my favorites)and it's tops in that catagory. The wonderfully ill finaced PRC studio(Producers Releasing Corp)also gave us the Z horror classics: Black Raven, Man made monster, the Monster maker and the above mentioned Killer Bats. If you think Blair Witch Project was done on the cheap, you ain't seen nothing yet! ... Read more