Reviews (16)

Run Away!!!
Our Town is an underrated classic, and I would recomend it to anyone. However, this is without a doubt the worst DVD transfer I've ever seen. To be honest, I'm not sure I've ever seen a truly clean copy of this movie, but I've seen better than this. The audio is the main problem here, as much of the dialogue is indecipherable. I can't believe anyone would have the nerve to release a film in this condition...it's an outrage.

Hollywood-ized Our Town
Our Town is a play that brings a simple message in a very compelling way; one of my favorite stories of all time. I can say that the people behind this motion picture version trivialized the ending of the story, and took back some of what the story gives. But that's Hollywood. Despite the ending, this still manages to be a wonderful sensitive rendition of Our Town. Technically, the print is poor quality, but the depth of the story made me forget about the print quality while I was watching it.

Serves me right ...
... for not having checked these reviews before I bought the DVD. The technical quality - especially the sound - is just absolutely horrible. What a disappointment. I was unable to sit through the full 90 minutes. The worst DVD I have ever come across. Stay away from it!

The ending does not take away
The ending though it may be different from the play does not take away from the overall message of the film. On TCM the narrator says that Thorton Wilder actually like the ending. I do not think Emily had to die for the message of the movie to be muted. On the contrary that she lives uplifted me. We know she will die eventually. Why does she have to die at that time?

5 star movie, questionable transfer
This movie is terrific. William Holden especially gives a sincere and touching performance as the young George Gibbs. The story is beautifully told despite the tacked on Hollywood ending; I think we all still get the message! My mission now is to find a DVD worthy of the content. I notice that there are at least two editions on the market. Before I shell out any more hard earned cash (I am a poor Film History student) I wondered if anybody out there could let me know of a better quality copy? Also anybody who enjoyed this movie should check out Sam Wood's fantastic KIngs Row. ... Read more

Reviews (19)

A beautiful film musical!
I really loved this movie. It has auch beautiful songs and is a great romance story as well. I highly recommend it. It's a movie the entire family can watch.

A grand night
This was the first movie I ever saw, at the age of four at the Victory Theatre in Wellston, Missouri (The Victory, a new name for the Mikado, dumped when World War II broke out for obvious reasons). During "It Might As Well Be Spring" I was horribly worried Jeanne Crain was going to fall out of the windowsill of her second story bedroom window. I was so relieved when the song was over. This is a colorful, sweet film, though it does demonstrate as so often was demonstrated that only M-G-M could make M-G-M musicals. Jeanne Crain, the mother of many, always seemed to be acting with her mind on what the kids would have for dinner that evening, but she was lovely, so totally natural (my favorite Jeanne Crain film is the totally forgotten "Take Care Of My Little Girl," about college sorority life). Poor Dick Haymes is totally out of his element, though a wonderful singer. Vivian Blaine pretty much steals the show. She should have enjoyed a much bigger movie career; it's Broadway that won her heart. I love the roller coaster scenes. The coaster in the closeups is not the coaster in the far shots. The studio had a limited budget and, because of World War II, even more limited resources to build the darned sets with. "State Fair" has a lot of pasted-together elements, consequently, but if you don't look close (so much doesn't match from shot to shot and the big, overall shots of the Fair clearly are shooting a miniature that if you think too much doesn't make any sense at all) you'll feel you are at the State Fair.

Isn't the film kinda fun?
This is a better film for families to see, despite the kissing. It is better than Carousel(a nightmare,) but not as good as Chicago. The first time I saw it, it was fast, but now that I almost know it by heart, truthfully, it is going slower despite the running time being 100 minutes. Overall, an entertaing yet so-so film.

A kinder, gentler era
This movie is pure delight. Yes, it has some of the corniest moments ever put on film -- but isn't that part of the charm of these old movies? The music is lovely (I just can't agree with those critics who call it weak), and even though Jeanne Crain and Dick Haymes look far too worldly and sophisticated to be smalltown Iowa farm kids, the movie has a colorful and homey feeling to it. It is about a time when people got excited about spending three days at a county fair, riding on ferris wheels and eating candy apples. Our world may be a lot more sophisticated and technologically savvy nowadays, but I can't help thinking that we've lost a lot of the fun that our grandparents had. This movie brings it back. Enjoy!

Don't forget Vivian Blaine
Unlike Jeanne Crain's, Vivian Blaine's singing voice is her own and she outclasses everyone in the film. Compare her magnetism and composure to her partner, Dick Haymes, in their duet "Isn't it Kinda Fun." Real talent shines through and Vivian's delivery of a song is the only thing in this movie that doesn't seem naive, contrived, and dated. And to the reviewer who told us to "listen for Harry Morgan's voice over as the barker," look closely: that's no voice over... that young face IS the young Harry (billed as Henry Morgan). ... Read more

Reviews (20)

The Best of Danny Kaye's work!
I have seen The Secret Life of Walter Mitty once, but that was all it took for me to love it. The girl he played opposite was fantastic, and had worked with him before in various other movies. Kaye's character in this movie had some pretty wild day-dreams, and sometimes those day dreams got him into trouble. When the girl of those dreams came into his real world, it was funny to watch how he dealt with it. Kaye's talent for singing, and the bar scene in which he played the pilot and pretended to be his old high school teacher, I thought it was the best part of the movie. Any one can love the way that Kaye loves and sometimes loses, and the way he handles it. He was the best actor/singer Hollywood ever had (and needs more like him!!!!), and this is certainly his best movie.

A fun movie!
Walter Mitty (played by Danny Kaye) is an inveterate daydreamer - henpecked by his mother, unregarded by his fiancé, and abused by his boss. But, when a man is murdered in his presence, Walter soon finds himself protecting a beautiful woman and running from a group of ruthless hoodlums, and nobody believes that this isn't just another daydream. Now, all that Walter has to do is hold onto his sanity and save that girl! [Color, released in 1947, with a running time of 1 hour, 50 minutes.]

This is a fun movie! Any Danny Kaye (1913-87) movie is worth seeing, and this one is doubly so. It has Danny's great hijinks and his wonderful off kilter singing. I liked the storyline and all of the antics, and the fact that the whole family could sit down and laugh along to this great comedy. If you like good comedy, and want something family-friendly, then you can't do better than this movie - buy it!

What A Great Movie
I happen to have gotten a copy of this movie which is the same editino pictured. I love Walter mitty and don't see why it isn't on DVD. Even though HBO did put it on DVD it was only on the market for 6 months than it was off the market. And now you have to pay a whomping fee just to get a DVD of it. The lowest price I have seen ws $215.00 Which is an outrage. This is a hilarious comedy with Danny Kaye.

One of Danny Kaye's Most Successful Pictures Ever!
Wow! What a movie! If you like Danny Kaye, then without a doubt you'll enjoy this classic Kaye film. In addition to Danny's normal good humor and hilarious puns, you'll enjoy suspense as Walter Mitty (played by Danny Kaye) has experiences (or are they just daydreams????) that bring the movie to life. Danny Kaye uses his great talent as an actor as he plays various parts in his short, but comical daydreams. His "real" life is just as funny as he constantly does unusual and absent-minded little things that make his friends and family wonder...You'll love it.

Full array of talents
Probably one of Danny kayes best known movies, and never seems to lose it's charm. A very thin story line is beautifully padded by the multiple personalities played out in the daydreams of our erstwhile anti-hero. A wonderful cameo from Boris Karloff adds to the comic excitement of a fast paced story, and Kaye delivers brilliantly with impeccable timing during each sub plot. Almost a multiple picture in picture movie, the ending really holds no suprises, but gently jogs the viewer along, without some of the kitch so prevalent in other movies of the era. Danny Kaye really was a comic genius, and in some ways the picture reflects his own life which was widely believed to be that of a painfully shy and reserved man. A great family film, my daughters aged 12 and 14 actually stayed glued to the film throughout, proving that "old fashioned" homely family films can stand the test of time with contemporary audiences. A worthy addition to any collection. ... Read more

Amazon.com essential video

Bette Davis didn't get to play Scarlett O'Hara in Gone with the Wind, but she did get to play a troublesome Southern belle in William Wyler's 1938 Jezebel. Davis's character, a coquette fond of stirring up rivalries among the men, goes too far and loses her fiancé (Henry Fonda), but she finds atonement when she cares for him during illness. This handsome melodrama by Wyler (who later directed Davis in The Little Foxes) is fully absorbing (John Huston contributed to the script), and Davis's carefully constructed performance does make one draw instant comparisons with Vivien Leigh in Gone with the Wind. The DVD release has the theatrical trailer, closed captioning, optional Spanish soundtrack, and optional subtitles in English, Spanish, and French. --Tom Keogh ... Read more

Reviews (44)

Bette Davis's Oscar winning performance now on DVD!!
In 1938 Bette Davis was a beautiful captivating actress who auditioned and lost for "Gone With the Wind" like every other female star did, with one difference, she starred in "Jezebel" winning an Oscar for Best Actress the year before.

"Jezebel" like Scarlet manipulated men with her destructive flirtatous desires. The setting was 1852 New Orleans pre-Civil War but abolotionists were abundant & the southern & northern relations were already politically strained. Davis's is outstanding in her role and quite beautiful. Henry Fonda & George Brent are her victims & pawns in her game chess. This movie even today remains as a classic Golden Hollywood film.

Standard Format this Black & White film is a great Warner Brothers picture. Only extra feature is a theatrical trailer. This is a great addition to your DVD library. Enjoy.

JULIE NEEDS SOME SHININ' ON THIS DVD TRANSFER!
Bette Davis took home the Best Actress Oscar for her performance as spoiled Southern belle, Julie in "Jezebel". More than anything Julie wants to be loved. But her mean spirit destroy her chances at happiness with a rich lawyer (Henry Fonda)and result in the death of one of her closest friends(George Brent). Then 'yellow fever' hits and the whole south begins to fall around her ankles. Davis is superb and she is supported by a stellar cast of character actors, topped off by Faye Bainter, as her sympathetic aunt. This film really stirred the breeze toward epics taking place in the south - branded box office poison up until then. It also killed whatever small chances Bette Davis had in her desire to play Scarlett O'Hara in "Gone With The Wind". This is no "Gone With The Wind" but, as told by director William Wyler, its a finely crafted melodrama and a tour de force for Bette Davis. So where's the problem?
In the TRANSFER: Warner doesn't give us much to hope for. Like "Dark Victory" this DVD is riddled with artifacts and digital compression problems that leave most of the image looking excessively harsh and grainy. The audio is mono but nicely balanced. Black levels are good but the gray scale seems to be lacking - too much middle range and not enough high and low end balance so that everything registers a dismal gray rather than a vibrant silvery spectrum of lights and darks.
EXTRAS: Not a one.
BOTTOM LINE: Don't waste your money!

Terrific performance, pointless and annoying story
The lead character is so very manipulative and knee-jerk reactionary that it's a wonder anyone fellow story charadctput up with her. Her love for her fiance played by a very wooden Henry Fonda seems non-existant, and when he leaves her after an impossible humiliating stunt of hers, she suddenly can't live without him. The story is drawing-room dull, all manners and behaviors. None of the characters are interesting enough to give a rat for. The dramatic ending is inconsequential and improbable.

Oscar-Winning, Oscar-Deserving. Excellent.
Poor Jack Warner. Imagine having to be the man who denied Bette Davis the role of Scarlett O' Hara. Imagine Bette's rage at the success of that particular picture. Imagine poor Jack's mind working nineteen tot he dozen, desperately searching for something, ANYTHING, to appease the wrath of The Davis.

Happily, Jack Warner came up with this: a 1938 movie about a spoilt southern Belle whose willful machinations eventually lose her the man whom she truly adores.

In my opinion, this is quite possibly Bette Davis' best ever moment in motion pictures. As Jezebel, she is old enough and established as an actress to bring real depth and credibility to the role, while being young enough so as not have established the Davis Trademarks to demean the role with. Playing the part of Julie Marsden, the titular Jezebel, Davis displays a rare understated pathos and a real sense of connection to her role. As with Regina Giddens in 'The Little Foxes', Bette's mastery of her craft is best displayed in the role of Julie. She is an emotional powerhouse, and the 'Let's raise a Ruckus' scene, as well as the final scenes of the picture, showcase that Oscar-winning mastery beautifully.

Henry Fonda is totally acceptable as the henpecked, hapless Preston Dillard, and in places gives a performance to match Bette's own. Other impressive supporting cast turns come in the shape of Margaret Lindsay as Yankee interloper Amy Bradford Dillard and the always-excellent Fay Bainter as Aunt Belle Massey.

Direction for the period is superior, too. Paced perfectly and beautifully photographed, William Wyler (whose talent is surely the only one to rival Joe L. Manckewiecz) has created a visual backdrop of opposite poles of emotion - the hubbub of city life, the quiet languor of plantation, and the terror and chaos of the epidemic are all as convincing as they are captivating. The infamous Red Dress scene has lost none of it's power, even after 74 years, Wyler's depiction of social ostracisation and slow realisation is masterful.

The DVD transfer for a 74 year old film is as good as can be expected. Sadly in parts the contrast between black & white is not as sharp as it could be, and the special features are not so good, but neither of these minor bad points will detract rom the overall majesty of 'Jezebel'.

Highly recommended.

Powerful Love Story From Bette Davis
"Jezebel" is a true classic released in 1938. Its plot about a woman, Julie, who loses her fiance, Preston, because of being greedy and manipulative is brilliant. Its powerful theme keeps audiences watching every scene closely. The plot builds up to the end, especially as her former fiance returns after being gone for one year. She's waited so long to beg for his forgiveness. Problem: he's now married. Jelousy begins lingering through every scene, keeping the plot interesting. There is never a dull moment through any movie detail. The intensity builds as yellow fever strikes, which offers a brilliant conclusion.

The set construction and the costume designs are amazingly ahead of their time. Few other movies in 1938 mastered such elaborate settings so flawlessly. Every detail is accurate to the actual 1850's New Orleans style.

Bette Davis deservingly won her Oscar for Best Actress for her role as Julie. She proves as always that she is one of the greatest and most influencial actresses of Hollywood history. Her heart and soul through her character is obvious. Henry Fonda's role as Preston is beautiful. His character's anger and love are expressed to his fullest. In this movie, Davis and Fonda answer why they deserve their legendary status. All other actors, major or minor, also perform their roles wonderfully.

"Jezebel" is a great movie for those looking for a great movie classic and/or a unique love story. This is sure to please audience for many more years to come. ... Read more

Reviews (19)

A beautiful film musical!
I really loved this movie. It has auch beautiful songs and is a great romance story as well. I highly recommend it. It's a movie the entire family can watch.

A grand night
This was the first movie I ever saw, at the age of four at the Victory Theatre in Wellston, Missouri (The Victory, a new name for the Mikado, dumped when World War II broke out for obvious reasons). During "It Might As Well Be Spring" I was horribly worried Jeanne Crain was going to fall out of the windowsill of her second story bedroom window. I was so relieved when the song was over. This is a colorful, sweet film, though it does demonstrate as so often was demonstrated that only M-G-M could make M-G-M musicals. Jeanne Crain, the mother of many, always seemed to be acting with her mind on what the kids would have for dinner that evening, but she was lovely, so totally natural (my favorite Jeanne Crain film is the totally forgotten "Take Care Of My Little Girl," about college sorority life). Poor Dick Haymes is totally out of his element, though a wonderful singer. Vivian Blaine pretty much steals the show. She should have enjoyed a much bigger movie career; it's Broadway that won her heart. I love the roller coaster scenes. The coaster in the closeups is not the coaster in the far shots. The studio had a limited budget and, because of World War II, even more limited resources to build the darned sets with. "State Fair" has a lot of pasted-together elements, consequently, but if you don't look close (so much doesn't match from shot to shot and the big, overall shots of the Fair clearly are shooting a miniature that if you think too much doesn't make any sense at all) you'll feel you are at the State Fair.

Isn't the film kinda fun?
This is a better film for families to see, despite the kissing. It is better than Carousel(a nightmare,) but not as good as Chicago. The first time I saw it, it was fast, but now that I almost know it by heart, truthfully, it is going slower despite the running time being 100 minutes. Overall, an entertaing yet so-so film.

A kinder, gentler era
This movie is pure delight. Yes, it has some of the corniest moments ever put on film -- but isn't that part of the charm of these old movies? The music is lovely (I just can't agree with those critics who call it weak), and even though Jeanne Crain and Dick Haymes look far too worldly and sophisticated to be smalltown Iowa farm kids, the movie has a colorful and homey feeling to it. It is about a time when people got excited about spending three days at a county fair, riding on ferris wheels and eating candy apples. Our world may be a lot more sophisticated and technologically savvy nowadays, but I can't help thinking that we've lost a lot of the fun that our grandparents had. This movie brings it back. Enjoy!

Don't forget Vivian Blaine
Unlike Jeanne Crain's, Vivian Blaine's singing voice is her own and she outclasses everyone in the film. Compare her magnetism and composure to her partner, Dick Haymes, in their duet "Isn't it Kinda Fun." Real talent shines through and Vivian's delivery of a song is the only thing in this movie that doesn't seem naive, contrived, and dated. And to the reviewer who told us to "listen for Harry Morgan's voice over as the barker," look closely: that's no voice over... that young face IS the young Harry (billed as Henry Morgan). ... Read more

Amazon.com

If there's one movie Danny Kaye fans fondly remember, it's The Secret Life of Walter Mitty. The versatile comedian--also an unsurpassed song-and-dance man--plays a henpecked, thriller-genre book writer suddenly enmeshed in a real adventure involving the (literal) girl of his dreams (Virginia Mayo). Initially criticized for not staying true to the more melancholic sensibility of author James Thurber's original story (Thurber allegedly offered producer Samuel Goldwyn $10,000 to not make the film), it not only works as an independent story, but remains highly entertaining and wears well upon repeated viewing. Kaye's milquetoast Walter fantasizes distractedly about being heroic, whether a gunslinger, an Air Force pilot, or a riverboat gambler. His "Anatole of Paris" number, in which Walter fancies himself a French hat designer who, in the end, declares he hates women, is nothing short of brilliant. That number, like many of Kaye's trademark patter deliveries, was penned by his wife, Sylvia Fine. Kaye benefits from a wonderful supporting cast: Mayo; Boris Karloff as maniacal Dr. Hugo Hollingshead; Faye Bainter as Walter's repressive but lively mother; Ann Rutherford as his suspicious fiancée Gertrude; and Gordon Jones as Tubby, who not only has designs on Gertrude, but provides the villain in Walter's fantasies. --N.F. Mendoza ... Read more

Reviews (20)

The Best of Danny Kaye's work!
I have seen The Secret Life of Walter Mitty once, but that was all it took for me to love it. The girl he played opposite was fantastic, and had worked with him before in various other movies. Kaye's character in this movie had some pretty wild day-dreams, and sometimes those day dreams got him into trouble. When the girl of those dreams came into his real world, it was funny to watch how he dealt with it. Kaye's talent for singing, and the bar scene in which he played the pilot and pretended to be his old high school teacher, I thought it was the best part of the movie. Any one can love the way that Kaye loves and sometimes loses, and the way he handles it. He was the best actor/singer Hollywood ever had (and needs more like him!!!!), and this is certainly his best movie.

A fun movie!
Walter Mitty (played by Danny Kaye) is an inveterate daydreamer - henpecked by his mother, unregarded by his fiancé, and abused by his boss. But, when a man is murdered in his presence, Walter soon finds himself protecting a beautiful woman and running from a group of ruthless hoodlums, and nobody believes that this isn't just another daydream. Now, all that Walter has to do is hold onto his sanity and save that girl! [Color, released in 1947, with a running time of 1 hour, 50 minutes.]

This is a fun movie! Any Danny Kaye (1913-87) movie is worth seeing, and this one is doubly so. It has Danny's great hijinks and his wonderful off kilter singing. I liked the storyline and all of the antics, and the fact that the whole family could sit down and laugh along to this great comedy. If you like good comedy, and want something family-friendly, then you can't do better than this movie - buy it!

What A Great Movie
I happen to have gotten a copy of this movie which is the same editino pictured. I love Walter mitty and don't see why it isn't on DVD. Even though HBO did put it on DVD it was only on the market for 6 months than it was off the market. And now you have to pay a whomping fee just to get a DVD of it. The lowest price I have seen ws $215.00 Which is an outrage. This is a hilarious comedy with Danny Kaye.

One of Danny Kaye's Most Successful Pictures Ever!
Wow! What a movie! If you like Danny Kaye, then without a doubt you'll enjoy this classic Kaye film. In addition to Danny's normal good humor and hilarious puns, you'll enjoy suspense as Walter Mitty (played by Danny Kaye) has experiences (or are they just daydreams????) that bring the movie to life. Danny Kaye uses his great talent as an actor as he plays various parts in his short, but comical daydreams. His "real" life is just as funny as he constantly does unusual and absent-minded little things that make his friends and family wonder...You'll love it.

Full array of talents
Probably one of Danny kayes best known movies, and never seems to lose it's charm. A very thin story line is beautifully padded by the multiple personalities played out in the daydreams of our erstwhile anti-hero. A wonderful cameo from Boris Karloff adds to the comic excitement of a fast paced story, and Kaye delivers brilliantly with impeccable timing during each sub plot. Almost a multiple picture in picture movie, the ending really holds no suprises, but gently jogs the viewer along, without some of the kitch so prevalent in other movies of the era. Danny Kaye really was a comic genius, and in some ways the picture reflects his own life which was widely believed to be that of a painfully shy and reserved man. A great family film, my daughters aged 12 and 14 actually stayed glued to the film throughout, proving that "old fashioned" homely family films can stand the test of time with contemporary audiences. A worthy addition to any collection. ... Read more

Reviews (44)

Important, Impressive, Inspiring!!!!!!!!!!!
I definitely remember seeing this movie as a youngster, well before I had come out to friends and family, and it left an indelible impression on me and actually provided me with survival tools, all people, regardless of their differences would invariably need to effectively deal with societal intolerance. The performances are spellbinding, most notably, Audrey Hepburn and Shirley McClaine. It was indeed ahead of its time and quite frankly I am surprised it has not been re-done. But on second thought, regardless of cast, there would be very little that a remake could lend. This would be a classic example of "If it ain't broke, don't fix it." The original version does exactly what it intended to do: open up a dialogue. It is uncomprimising and tastefully done with wrenching performances and is just as timely today as when it was first produced. I heartily recommend it as a though-provoking and important film.

A Very Good film with inconsistencies
Children's Hour is a superb black and white film with an outstanding cast, but one can see that there were difficulties with script and direction, and the subsequent struggle in the editing room, which prevent the film from having it's full impact. But what an impact it still has!

Fans of Hepburn, MacLaine, and James Garner will find rich rewards in the performances of these well known actors, and the supporting cast is also excellent, especially Karen Balkin and Rosalie Wells, the young female students at the center of the scandal.

The deceptively named "Children's Hour" neatly camouflages the real story behind the happy schoolhouse, which makes for compelling and surprising drama, to say the least, and unique topical material.

As far as editing is concerned, the numerous jump cuts within scenes either indicated an incompetent editor, or that director William Wyler didn't give himself enough coverage on many scenes. But these difficulties only foreshadowed other structural problems. A MAJOR portion of the drama is missing: the courtroom drama was completely circumvented! And then the doting and melodramatic ending, the loss of love, and the peculiar depression of the characters even in the face of their ultimate victory...I don't buy it. The ending seemed to drag awkwardly on and on, and Martha Dobie's (MacLaine) final act was not justified under the circumstances. If it was justified, her performance didn't convince me that it was.

Above all, the enormous period taboo against homosexuality stretched the ending to what I think we today would agree is an unreasonable and quite excessive conclusion.

Lukewarm and a bit hokey
As someone who directed the play this movie was based on, I feel qualified to say that this film is lukewarm at best.

Now, the Hellman play had enough dated, corny moments to make any decent director tear her hair out (especially if the said director was slaving away directing for a two-bit, small-town, scuzzy, exploitative, unappreciative, social-climbing, pitiful, political, snotty, piddly community theatre in Alliance, OH which shall remain nameless, but that you can identity by following the rank, desperate, consumed-by-envy smell of the backstabbing, wannabe artist Board of Directors "Director").

So, you would think that the film, being funded and Holywood and all, would streamline the story and cut out all cheesy bits.

However, instead, the film adds bizarre moments that never existed in the film, kicks up the camp, and changes the ending so that the basic narrative is unrecognizable.

I would say, skip this film and read the play yourself. That way you'll be able to see what Hellman was truly trying to convey.

What the loudest whisper can do...
What the maliciously whispered lies of one nasty little kid can do! What can it do? I recall Malcolm McDowell's character in if... saying how one bullet in the right place could change the world. Well, something similar happens here, only the world that is shattered results in the discrediting of three innocent people.

Mary is an aggressive troublemaker at the Wright-Dobie School For Girls, run by Karen Wright and Martha Dobie, women who graduated from college together. The school's actually a large two-story house where the children sleep upstairs and have classes downstairs. Mary lies, steals, blackmails, and even overracts just to get out of trouble. Karen, who has been patient with her, finally decides to punish her, and that's when Mary decides to act. She uses gossip she hears from other girls, blackmails a girl with a penchant for stealing, but the second worst thing she does is manipulate her caring but strict grandmother, Ms. Amelia Tilford, into being the agent for the destruction of innocent lives. It is Tilford's spreading the lie of the schoolteachers being lovers that causes the school to collapse.

For the two women, assisted by Martha's meddlesome aunt Lily Mortar, running a school's not easy, but things are looking up. They've finally made a profit, expecting some more students, and Joe Cardon, the local doctor and cousin of Mary's, has finally agreed on a date to marry Karen. All this though has been surrounded by tensions. Joe has been snappish, Martha is a bit sharp with Joe, and everybody's tired from running this school. And tensions boil when Lily berates Martha for being possessive and jealous of Karen to the point that Martha dismisses her own aunt from the school. But the scandal brings with it the mind-twisting madness of how certain words spoken have a different connotation. "Everything I say is meant to mean something else," Joe says in frustration. To which Karen says, "Every word has a new meaning. Child, love, friend, woman...not many safe words anymore."

The darkly lit interior scenes in the empty schoolhouse, once bustling with activity, mirrors the somber atmosphere after the scandal breaks. Based on Lillian Hellman's play on an actual incident in early 19th century Scotland, and initially filmed in 1936 under the title These Three, and also directed by William Wyler, it was a perfect opportunity to test the waters of the newly liberated Production Code, but the word "lesbian" was never used, mainly because Hepburn was nervous about content. There were some scenes that played up on a potential relationship that were cut, and Shirley MacLaine regretted that Wyler didn't keep the ball rolling in that regard. As a result, it's not the film it could have been.

The stars are all good, with even James Garner showing some emotional depth when things between Joe and Karen finally become strained as a result of the scandal. Miriam Hopkins, who played Martha Dobie in These Three, plays the role originally done by Catherine Doucet. Audrey is laudable enough here, but for her, saying no to Wyler, who directed her to fame in Roman Holiday, was tantamount to saying no to God, otherwise, she probably wouldn't have come out in this. But Fay Bainter (Ms. Tilford) turns in a role for which she was given a Best Supporting Actress nomination, as someone concerned, and too trusting to be blinded from the truth. When it does hit her, there is a scene when she collapses. She shrugs off any assistance, rises, and stares imperiously while her granddaughter stares in fear at being finally revealed.

While not one of Hepburn's most memorable movies, it's certainly one of the most depressing, and thus seems longer than it's 1:47 running time.

Not Convincing, but a very good try
I agree with the review by John Graves. More than anything this film annoyed me. Where were the father parents of the totally obnoxious little brats? The ring leader, the liar, needed to be slapped across the room. Instead, the "so-called" adults just told her to stop lying- In the era when this movie supposedly took place, a child behaving like that simply was not tolerated. I also agree about the ending to a certain extent- Shirley MacLain was shocked by her own revelation, and at that time it may have been too much for her to handle, or the fact that she had dissapointed her best friend Karen, either way it was totally depressing. I was dumb-founded by the removal of the trial, because at first I thought it was the very next day, then only through dialog do I realize that it's been months and there's been a trial and a decision etc.
This film could have been great, and started out extremely nicely. But nothing added up at all, perhaps because of the subject matter. The lead characters were great, but they all gave up much too easily. Being such good friends they could have pulled together more I think, or maybe I'm projecting 2004 values back to that time.
In any case, this played like a soap opera melo-drama similar to "The Perils of Pauline"
I came away feeling cheated for what might have been. ... Read more

Reviews (7)

Fine Crawford and Sullavan chemistry in interesting drama
"The Shining Hour" displays the interesting meshing of two fine talents in talented actresses Joan Crawford and the magical Margaret Sullavan. Having seen very few of Sullavan's films I was amazed by her confident playing and husky appealing voice. Together these two really create an interesting pair of characters that look believable interacting with each other so natural is their rapport with each other.

"The Shining Hour" was a mildly successful Broadway play that Joan Crawford developed an interest in and got MGM to buy the option on as her next film in early 1938. She was experiencing a box office slump at the time despite having a success with Spencer Tracy in "Mannequin" and was eager to start exploring film properties that might offer her more of a challenge. While it has a similiar theme to alot of Joan's earlier work where she climbs the social ladder and is torn between the love of two men, here she is provided with fine performers and some literate dialogue that make "The Shining Hour" a memorable viewing experience. Despite being dismissed by some critics as more of a personality than an actress here Crawford delivers an honest and naturally presented performance that contrasts so well with Sullavan's very different delivery. The two became good friends during the production of "The Shining Hour" and it clearly shows in their on screen friendship as well.

The film relates the story of Olivia Riley a night club performer from a humble background who marries wealthy gentleman farmer Henry Linden and returns with him to the family property in Wisconsin. Olivia gets more than she bargained for when she meets the rest of the family as she is left to deal with the jealous and bitchy reception by Henry's sister Hannah who resents her presence in the house and the hate turned to love directed at her by David, Henry's brother. She does find an automatic friend and ally in David's wife Judy but complications set in when she finds herself falling in love with David despite knowing that those feelings are wrong and will destroy Judy's life completely.It takes a near tragedy at the farm to finally bring Olivia and David to their senses and to realise that what they already have with their respective spouses is too precious to throw away.

Out of such a romantic story comes some very fine acting indeed. I believe Joan Crawford shows a real maturity in her acting style in this film. She makes the character of Olivia a well rounded one and some of her best scenes are when she is showing the dilemma that she has found herself in over her feelings for Henry and David. Margaret Sullavan is superb as the frail and tender Judy who is prepared to sacrifice her own life for the sake of her husband. The film boasts strong performances from all the leads, a standout being the terrific Fay Bainter as Hannah Linden the nasty spinster sister of Melvyn Douglas and Robert Young. Her cold manner and nasty cuts at Olivia create a real feeling of tension which give "The Shining Hour" its dramatic edge. Melyvn Douglas and Robert Young as Henry and David Linden really are overshadowed by the three female leads but do good work and Robert Young in particular is very effective as the brother torn between his sweet wife and his sister in law. Rounding out the cast in one of the main supporting roles is the always wonderful Hattie McDaniel as Belvedere, Joan Crawford's personal maid. She has some great lines and the last scene of the film which ends on a very comical note is really hers which she handles in her usual capable and highly comic manner.

If you are a Joan Crawford or Margaret Sullavan fan you are guaranteed to enjoy "The Shining Hour". The film has the polished look typical of MGM productions of that period but really this film is more than just a prettily packaged romance story. It delivers an interesting story and some great acting by all the leads along the way.

Suprisingly moving Crawford melodrama
Crawford is a New York dancer who marries a dashing gentleman farmer. She has led a somewhat brazen life with no shortage of male company, but having been around the block and found no satisfaction, she is attracted to the idea of quiet country life. Of course, that is not what awaits her on the farm, where she must content with a hateful spinster sister-in-law and an amorous brother-in-law also ensconsed in a loveless marriage.

There are plenty of the standard elements to keep any Crawford student happy: soapy plot, a strong but wronged woman, a bit of bitchy dialogue, and of course Joan is immaculately dressed and coiffed throughout.

However, there is much more in this film. The support cast is excellent, especially richly-voiced Margaret Sullavan as the undervalued and devoted wife of aforementioned amorous brother-in-law, and Melvyn Douglass as Crawford's understanding husband.

One of the interesting notions in the film is the fantasy that for each person there can only be one "true love", hence the marriages in this film are threatened not by falling out of love or falling in love with more than one person, but rather because a person who has settled might meet the one they were truly made for.

Overall, a very interesting and enjoyable film.

¿And in 1938 Crawford was voted box-office poison!!
Every time I watch a Crawford film from the 1930s that I hadn't watched before, the oft-quoted opinion of film critics of that era about Joan's lack of acting ability/talent, surprises me even more...because each time, again and again, her acting & technique seems (to me) so fresh and contemporary, so much more natural than the acting style of most of the other ladies from the '30s.

In this entertaining film she acts and holds her own opposite a different type of talent, lovely actress Margaret Sullavan, who, as always, excels as Crawford's sister-in-law. I repeat, Crawford's playing, as a dancer married into an aristocratic rural family, looks very natural and sincere.

Kudos too, for wonderful character actress Fay Bainter, as the unpleasant spinsterish sister of Robert Young and Melvyn Douglas, who was the first screen actor to be nominated for an Academy Award in one year, in both categories: best actress for "White Banners" and best supporting actress for "Jezebel" (she won this one), and like "The Shining Hour" (MGM), both films were released in 1938 (by Warner Bros.), so it was definitely a good year for Ms. Bainter.

Robert Young and Melvyn Douglas are second fiddle to this trio of excellent actresses, but nonetheless very effective as the Linden brothers, married respectively to Sullavan and Crawford, torn between love and family. Hattie Mc Daniel (future "GWTW" Mammy) is very funny as usual, as Crawford's maid.

AN UNUSUALLY FASCINATING DRAMA
A rather unusual film which is redeemed by the performance of Margaret Sullavan. In 1938, Joan Crawford's career in films was in serious jeopardy: she was considered "box-office poison". Joan demanded that MGM give her better stories with scripts written by prestigous playwrights.
This was a valiant but failed attempt to rescue her position at the box office. Here we have Joan Crawford as a glorified gal of the streets - an erst-while Tenth Avenue chippy - turned ballroom dancing queen who marries Wisconsin farmer Melvyn Douglas. The family doesn't exactly give the couple their blessings, and fireworks emit while the newlyweds stay at the cozy little farm (with 2,000 cows!). Robert Young (he's married to Maggie) develops feelings for Crawford which she reciprocates...confusion ensues. The best performance in the entire film is given by Margaret Sullavan as Judy Linden. Sullavan manages to capture some poignancy combined with a touch of hopeless heroism in her self-sacrificial role. Fay Bainter is excellent, playing with spiteful arrogance. Douglas and Young - as the gentlemen farmers - are charmingly dull. Crawford is noticeably thin here, and although she looks lovely in some becoming gowns, her performance lacks conviction; she and Sullavan, however, make for a most interesting contrast. In the original play, the story took place in Yorkshire, England.

MARGARET SULLAVAN STEALS THE SHOW FROM JOAN CRAWFORD...
This is another compelling melodrama in which Joan Crawford stars as popular nightclub dancer. Tired of the tawdry world of the demi-monde, she agrees to marry a rich man (Melvyn Douglas) from Wisconsin and live a quiet and simple life on his Wisconsin farm. Unfortunately for her, his jealous and domineering sister (Fay Bainter) lives there, as does their brother (Robert Young) and his wife (Margaret Sullavan).

The brother, who had initially disapproved of the match, finds himself falling for Joan, while his wife looks helplessly on. The sister is viscious towards Joan, and Joan and her husband build their own home in hopes of riding out his sister's hatred of Joan. Alas, this is not to be, as the sister's hatred takes a dramatic turn, which brings all the parties to a crossroad in each of their lives.

Margaret Sullavan gives an achingly poignant performance as the wife who loves a husband who does not return that love. The nuances of her performance steal the show away from Joan Crawford, who also gives a strong performance but does not reach the heights that Margaret Sullavan does with hers. Melvyn Douglas and Robert Young are excellent as the brothers, who are in love with the same woman. Fay Bainter is terrific as the hateful and jealous sister, whose hatred would culminate in tragedy.

Though some of the film is somewhat preposterous, it is entertaining, nonetheless. Fans of Joan Crawford and Margaret Sullavan will enjoy it, as will all those who love classic films. ... Read more

Reviews (4)

Great Film for Schools !
As a science teacher, it's fun to show a good, enriching, humorous, and educational film, but films like this are so very rare. Young Tom Edison is one of those unique Hollywood gems that fits the bill perfectly. Every year I show this film I hear the same thing: "Awww...do we HAVE to watch a black & white film ?" "These old films are never any good!" "How old is this ?" "Is the real Tom Edison in this?"
Every year I start this film hearing comments like this, but without fail, kids are laughing and really enjoying the film after just 10 minutes. After the first day (it takes two days to show Young Tom), kids can't wait to see the rest! It's that good! Mickey Rooney is perfect as the irrepressible Young Tom: both charming and curious almost to a fault, Tom blunders his way into big problems and then brilliantly uses science to get himself out of the trouble. From all I've read about Tom Edison as a young man, much of the adventures shown in this film are entirely factual, which only adds to the allure and charm of this family/school -friendly film. A must-see for all ages, and a great film for public school use.

Triumph of the American spirit... regardless of age
Made during a time not unlike today, when America found herself in the midst of a turbulent world on the brink of war, and needed a serious uplift, "Young Tom Edison" is a lighthearted drama starring Mickey Rooney, as the famous scientist at around the age of 12 or 13. While some of the events portrayed in the movie are most likely fiction, (the ending is a bit of a stretch to believe as actual history) this movie is still a delightful piece which tries to answer the question, "What would one of the world's greatest innovators, misunderstood, mocked and ridiculed as a boy, have been like in those days?" The casting is marvelous. Not only does Rooney shine as the head-in-the-clouds, chemistry-brilliant young Edison, but both Fay Bainter and Norman Taurog give believable performances as hardy, hard-working Midwesterners doing the best they can to understand their decidedly odd young son. Virginia Weidler (of Philadelphia Story fame) delivers a remarkable performance as Edison's younger sister, Tannie.

The upshot is: if you're looking for a lighthearted approach to history and are willing to suspend your disbelief for a couple of hours. Then this movie is nothing short of marvelous. Buy it.

Very good family picture, funny but honest.
This is a great movie for children and parents to watch together. It is good clean fun. We have used it as a family night movie at our church and all loved it.

A HOLLYWOOD CLASSIC!
MICKEY ROONEY REACHED THE ZENITH OF HIS CHILDHOOD ACTING CAREER,IN THIS STORY OF A GIFTED BOY GROWING UP MISUNDERSTOOD IN PORT HURON, MICH.A FILM THAT YOU WILL WANT TO SEE AGAIN AND AGAIN. ... Read more

Reviews (7)

Golly! This movie is corny and patriotic? You don't say.
A fine film. It's pure, distilled, Grade-A, all-star, all-American, accept-no-substitutions, concentrated, three-hankie, melodramatic, sentimental, heartwarming, white picket fence, patriotic wartime schmaltz. They don't make 'em like this anymore. Mickey Rooney stars as Homer Macauley, a bright-eyed, fresh-faced, optimistic teenager living in Smalltown, USA during the height of World War Two, when all able bodied young men, including his older brother, have gone off to fight against the fascists and save civilization itself. Still, even with soldiers passing through town and cannons crowding the trains that are headed back East towards Europe, the war is still far, far away, and civilization can still be saved right here, back on the homefront. Taking his brother's place as "the man of the family," Homer learns about hard work, fair play, compassion for others, and about disappointment and heartbreak as well. It's all unremittingly corny, but that's entirely the point. This is not a modern movie -- it isn't cynical or packed with obligatory violence, nor is it politically nuanced or notably subtle. But it is a fine document of its time, sort of an ultimate exposition of the best and most cheerful face that mainstream, white America could put on the underlying grimness that a total war mobilization meant for America and the world. It's a piece of homefront propaganda, but no less true to life, in its way, than any other film of the time.

The screenplay by William Saroyan is set in the author's home in California's fertile San Joaquin Valley, and while he makes sweeping nods towards the Valley's legendary cultural diversity (omitting, for the most part, blacks, Jews and Germans...), Saroyan gives Norman Rockwell a run for his money in the sentimental Americana category. A couple of the religiously-themed scenes may be suffocating to secular or nonsectarian audiences, but other than the film's persistent preachiness, it's a fascinating slice of wartime historical hokum -- worth checking out its time capsule qualities, as well as for entertainment value. Plus, it's packed with loads of great character actors and all-star cameos, including Frank Morgan (aka The Wizard Of Oz), as Homer's older mentor, Don Defore and (a very young) Robert Mitchum as babyfaced soldiers on leave, and Carl Switzler ("Alfalfa," of the Little Rascals) as a teenage hooligan. This movie is sappy, sure... but it's also worth checking out if you have any interest in understanding American society at this critical juncture in our national history.

An over-looked gem.
I disagree with reviewers who've complained that this movie is too patriotic. The heart of the movie is the Macauley family, not the war effort or America alone. Just because Homer Macauley (Mickey Rooney) chooses optimism over bitterness, it is not because of patriotism. Though the Macauley family has an older son away at war, their daily struggle is trying to get by without a father as fourteen-year-old Homer tries to support his family with a job as telegram boy. Though this proves difficult at times, Homer never complains and remains endearingly precocious, as displayed by his struggle in school with a snobby bully and his hopeless crush on a classmate. Overall, the movie is a good, solid effort, mostly due to Mickey Rooney's flawless performance as Homer.

So...what's wrong with tugging a heart-string or two..?
This has always been one of my favorite films, since I saw it on TV about 30 years ago. Sentimental & Corny? Sure, but those who take the time to feel the deeper message will be rewarded. Apparently, some of my reviewing predecessors kept their minds closed to the depth (yes, that's right) of the story. First of all, this is a fable; a commentary not on life itself, but about life as it ought to be. The fact that it involves Ithaca, and characters named Homer, Ulysses & Marcus suggests Greek tragedy (the irony of the title) and the Greek chorus (the father). I couldn't possibly deny the fact that there are plenty of sappy moments, but they are layered & blended with some quite profound lessons. Let's not forget that in 1942 the war was at its absolute peak and enouragement like this was not only welcome but very necessary. Mickey Rooney gave a relaxed, centered performance, probably his best; Frank Morgan, Fay Bainter, James Craig, Marsha Hunt...all wonderful. How can you not feel for Homer when he has to deliver a singing telegram to his girlfriend...sent by his rival? Clarence Brown, known for heart-tuggers (The Yearling, National Velvet) came thru with flying colors, juggling the very complicated events & episodes into a coherent narrative. Say or think what you want...I was moved and touched by the over-all power of this film. It is quite verbose, and some of the preachy little speeches might've been shortened, but the substance of those little speeches hit home powerfully. Home, family, work, love...all those things that matter...are portrayed here as they "ought" to be, and after the tragedy of Sept 11, I welcome this little reminder of the things we have that are taken so much for granted.

Corny and trite.
Maybe wartime audiences needed sickly sentimental and syrupy movies such as this to escape from reality. And there are some moving moments in this movie; but its overall sappiness makes it a disappointment in the long run.

Some parts are just so unbelievably syrupy that it just boggles the mind. In one scene set on a train filled with soldiers heading towards overseas embarkation areas, one soldier starts to play gospel hymn on his accordian and his buddy starts to sing along. In a scene that reminded me of the nun with the guitar scene in "Airplane," all the other soldiers upon hearing the music, stop what they're doing, look towards the musicians, and then start to sing too. Soon the entire train, which must have been completely filled with evangelical Christians, is singing away. But that was not the corny part. It really gets silly when the camera starts doing closeups of one soldier urging everyone to "SING!" It soon dawned on me that the filmmaker was trying to get the audience watching in the theater to sing along with the characters on the screen. Now that's corny! (The only thing missing was the song's lyrics at the bottom of the screen with the bouncing ball accompanying the music.)

However, like other reviewers here, it is the ending that really made me shake my head with wonder- a character attempts to put a joyful spin on some really tragic news. The ending is just absurd. And the fact that this was a wartime movie is no excuse when you compare "The Human Comedy's" ending to the truly moving ending of another wartime melodrama, "The Fighting Sullivans." "The Fighting Sullivans" shows that wartime sentiment and patriotism could be used to make a good movie; on the other hand, "The Human Comedy" shows the exact opposite.

Embarrassingly soapy vignette of WWII patriotism
Though William Saroyan's original work had many a deficiency, and indeed had much excessive flag waving, the characterisation, lighter scenes, and inclusion of a few other "supporting players" made it a bit more believable. This film is tedious, totally "preachy," and one in which few characters seem at all like anyone who actually walks the earth.

The Saroyan novel, for all its excessive patriotic references, basically dealt with a young man's growing to maturity. Mickey Rooney's efforts to make Homer Macauley a likeable teenager are noble, but the film version reduces him to one dimension. Young Ulysses, who has a certain charm in the book, seems a cartoon character. Mother Macaulay is the worst of all - delivering weighty pseudo-wisdom in awesome tones that would put one in mind of the wax figures who sat in "Grandma Predicts" booths at Coney Island.

The ending (which I'll not reveal, though it is obvious from the first scene) is sad but realistic in the book - grotesque in the film. The very last line Homer utters, and which is not in the original, is an attempt at inappropriate cheer that comes out as macabre.

Much more could have been done with a cast such as this, but the adaptation is one of the worst. ... Read more

Amazon.com

There's little question that the brilliant Danny Kaye did some of his finest--and most memorable--work in the lush and lavish Samuel Goldwyn musicals that he made both during and immediately after World War II. The Kid from Brooklyn, based on the play The Milky Way, is no exception. The plot concerns Burleigh Sullivan, a kindly milkman who is duped into thinking he's championship-boxer material, and Kaye is again paired with Virginia Mayo, who teamed with him (ever so briefly) in Up in Arms, then as his leading lady in Wonder Man, and later in The Secret Life of Walter Mitty and A Song Is Born.

The performances from Kaye and his supporting cast are topnotch. Notable are Walter Abel as the comically manic fight promoter Gabby Sloan; a wry Eve Arden as Gabby's long-suffering gal pal; Steve Cochran as Speed, the "real" boxer who's actually a nice guy; Lionel Stander (later of Hart to Hart) as Spider, the put-upon trainer; and a truly sensational Vera-Ellen--who has completely amazing dance numbers (notably "What's Your Name?"). The underrated Vera-Ellen plays Burleigh's sweet sister, who falls for Speed. Familiar Kaye collaborators Sammy Cahn, Sylvia Fine (Kaye's wife), Max Liebman, and Jule Styne provide the film with catchy, lively tunes that still sound fresh. Legendary cinematographer Gregg Toland gives the colorful film a lovely look. --N.F. Mendoza ... Read more

Reviews (3)

a great film!
This is one of Danny Kaye's funniest and greatest I think. It's a must to see for any Danny kaye fan or fan of comedy and is one oyu never tire of watching. Virginia Mayo and Vera Ellen are great in it as well.

Milquetoast milkman turned middleweight champ!
Charming and lighthearted comedy in gorgeous color about a milquetoast milkman who becomes middleweight champion of the world--only in a Danny Kaye (or Bob Hope) vehicle could this happen convincingly. Kaye delivers his usual winning combination of naivete and spunk as Burleigh Sullivan, an endearing and mild-mannered milkman who inadvertently finds himself on the road to success and glory when he is mistakenly credited in the papers with having knocked a man out that he unwittingly got in an altercation with--a man who turns out to be the reigning middleweight world champ! To try to rectify this humiliating situation, the current champ's promoter arranges for a match-up between his boy and Burleigh. Along the way, Burleigh hilariously goes from a nice, down-to-earth person to an arrogant, loudmouthed show-off with an ego out of this world as he "wins" one bout after another to qualify for middleweight contender. The rest of the cast is top-notch--blond beauty Virginia Mayo as a glamorous yet wholesome singer named Polly Pringle, Burleigh's sweetheart who soon gets disgusted with his overbearing manner and longs for the sweet boy she initially fell for; lovely Vera-Ellen as Burleigh's sister Susie (with her dancing talents nicely showcased in a couple of musical scenes); Walter Abel as Gabby Sloan, the exasperated yet resourceful boxing promoter; and Eve Arden provides a lot of dry humor as Gabby's gal Ann Westley. Particularly good is Steve Cochran as "Speed" McFarlane, the current champ and Burleigh's opponent, who falls for Susie and she for him when she discovers what an on-the-level, decent chap he turns out to be. It's mystifying why Cochran never got to be a big star since he had looks, appeal, and some talent, effectively playing tough guys with a soft side, as in this film, to bad guys rotten throughout--oh well, the vagaries of Hollywood. One of the most hilarious scenes in the movie is when Burleigh's super-ego is displayed full throttle when he interrupts Polly's performance at a charity event by making an outrageously grand (and very loud) entrance complete with a procession of Russian acrobats and marching band! A great comedy which still sparkles and is refreshing to this day.

Another great performance
One of Danny Kaye's lesser known films, but on a par with classics like Walter Mitty and Court Jester. Kaye is at his best playing the unwitting pawn who always comes out on top. A definate "must-have" for any fan of Danny Kaye's work. Now how about a DVD version? ... Read more

Reviews (11)

Presenting another Garland great!
Judy Garland's "Presenting Lily Mars" takes an old film vehicle and makes it an enjoyable treat: the young girl desperate to make it on the big time. Desperate underlined three times. In her countless efforts to get herself a reputation as a performer and a status as a star, Miss Mars manages to completely drive a big-shot producer (Van Heflin) to insanity and true love, get herself tangled with a bunch of chorus girls, and upstage a Russian singing star. Not the basis for a big star, but for Lily, her star is nevertheless slowly on the rise... Garland takes a few numbers and makes them funny and charming and spectacular in the film's finale. She is naive and pert as the insistent Lily Mars, and a joy to watch. Heflin is very good as the producer who inadvertently winds up falling for her, Marta Eggerth is... eccentric- as the vivacious singer. Supporting players are fine, too: Spring Byington is delightful as Garland's supportive mother, and Connie Gilchrist is very good as an old war-horse of the theater and Garland's confidante. Although not much substance is put into the story or songs, it's still a nice little show to watch if you can.

Judy Is Fantastic!! She's The Best!! :)
Judy Garland is absolutley wonderful in this film. If you are a fan of hers ( like me) you'll love it! Evn if your
not the movie is great. The story line follows Lily Mars(Judy Garland) a stage struck young lady that is dying to be on the stage through fantasticly funny situations as she trys to convince a broadway producer ( Van Heflin) that she is perfect for one of his shows. Add in a little romance later in the film between Judy and Van to make it perfect. Of course Judy sings beautifully as always which makes this musical comedy even better , my personal favorite song is " Tom, tom the Piper's Son" But they are all wonderful. I highly recomend everyone see this there's plenty of laughs and I'm sure you'll enjoy it! :)

one of judy's best
I found this movie very entertaining. Judy sings and dances up a storm. The songs are okay. But once again the best thing about this film is judy. The finale was one of the best scenes in the film. Judy pulls it off with little effort

This is one of my favorite judy garland films.

great film!
This is a great Judy Garland film, "Presenting Lily Mars," is a fun and exciting musical, with comedy and romance. The songs are good but not great, but nevertheless entertaining. Judy wants to be on stagein this movie and trys to convice producer Van Heflin, to g ive her a chance. Its one of Judy's memorable films of her earlier films. It's well worth seeing. Great fun all around.

so so movie
This movie's okay.
The real reason behind any appeal for this movie goes to Judy Garland. She's cute in it and there are a couple of songs, although they're not memorable tunes.
But my main disappointment laid in Van Heflin. I am a fan of his and he did the best he could with this role. Hollywood threw him around. When given the right role, like in Johnny Eager, he was able to captivate the audience. Even with such big names as Lana Turner in that movie, my attention was diverted to his supporting role. I have to agree with the other reviewer also. The door knob thing was really annoying. ... Read more

Reviews (10)

An Enjoyable Light Comedy
"June Bride" tells the story of a magazine editor (Bette Davis) who goes to Indiana with her staffers and a fellow journalist -- and ex-boyfriend (Robert Montgomery) -- to cover a small-town wedding.I found this movie very enjoyable. It's nice to see Bette Davis in a comedy role. And Robert Montgomery gives an enjoyably hammy performance (always somehow making me think of Bob Hope). The two of them are very good together. Yes, the catch is the ending. As in two other Bette Davis films of the era -- "All About Eve" and "The Star" -- the career woman chucks her career at the end to be with a man. Up until this point, I couldn't help feeling how nice it was for a Forties film to depict an intelligent, successful career woman. But this was the sensibility of the time. The film is still well-written, and knowing Bette Davis, she won't be carrying those suitcases for too long! (If you see the movie, you'll understand.)

A BREEZY, ROMANTIC COMEDY...
This is a delightful, breezy, romantic comedy. Bette Davis plays the part of Linda GIlman, a sophisticated and successful magazine editor. Robert Montgomery plays the part of her love interest, Carey Jackson, a foreign correspondent out of a job, who has been assigned to work with her. Having previously been romantically involved, they must now work together.

They travel to Indiana with their entourage where they will do a story on a June bride, having picked a middle class, average, small town family upon which to focus. While there, they get involved in the family's affairs, with a few delightful, though predictable, twists and turns. While getting to know the family, they make some personal discoveries about their own lives. It seems that embers of their own long ago romance, have merely laid dormant. With the flames being fanned, it looks like there may be more than one June bride.

Bette Davis is very soignee as Ms. Gilman, and Robert Montgomery provides a light hearted touch as the cavalier Mr. Jackson. Both contribute some comedic deftness, as does the supporting cast, to make this an entertaining film. The only wrong note struck during the entire film is in the last scene. It was almost embarrassing. I thought about deducting one star because of it, but then decided against it, as it was just reflective of the era in which the film was made. Actually, the whole movie was reflective of the era in which it was made, but that last scene was just too sexist for words. When you see it, you will know what I mean.

Fans of Bette Davis will surely enjoy this movie, as will those who love classic films.

production values great, davis not a good comic actress
The story has possibilities. The production values are great. Bette Davis was a fine dramatic actress (excusing her obvious mannerisms....twitching, clipped speech, hand wringing), but a comedienne??????? That is a laugh in itself. Only die hard Bette Davis fan will never admit the truth about Bette Davis. When it came to comedy, she couldn't act her way out of a paper bag. Other than that, this movie is a cute romp, mainly because of the production values and Robert Montgomery's performance.

Bette's humiliation
Life of a wartime correspondent can be enviable: exciting, well-paid, and the taste of fame is sweet...However, when the war is over, you're out of work. No position is vacant for Carey Jackson (Robert Montgomery) unless - well, is he willing to work for a New Yorker women's magazine and accept Linda Gilman (Bette Davis) as his boss - the woman he jilted three years ago?

Linda too is sceptic: he will be bored and scoff at her...He tries to warm up their relationship - drinking cocktails in a penthouse, trying to kiss her in the dark, getting boxed on the ear...Another reviewer remarked appropriately that Bob Hope should have played this scene. As expected, he pokes fun at her position as editor ("Madame directrice", "Sir") and even offers her a cigar. But Linda is quick on the trigger: "Thank you, I'm going to smoke it after breakfast".She is about to prepare a special edition about the bride of the month, quite in advance, besides: It's for the june issue, and it's still winter. They fly to the province, Cresthill/Indiana, 30 cm of snow. Carey, who promised to be charming drops his good intentions...

From now on we're watching HOUSE INVADERS: The wallpaper is not to the taste of high-brow New Yorkers, the family even has to part form their Julius Ceasar bust - a much beloved wedding-present. The Brinkers are a storybook family: Pa "Call me Grandpa" who gives Carey a chummy look before offering his self-distilled brandy, Ma, who feels flattered at the thought of becoming famous, the bride with model-aspirations, "Boo", the younger sister, and the black sheep of the family - a democrat. Carey disentangles the mixed-up love-quartett, hereby depriving Linda of her June-bride. She fires him, he announces that he will take her back, but only if she crawls to him...

I have seen Katherine Hepburn ridiculed for her emancipation attempts in WOMAN OF THE YEAR and ADAM'S RIB. I have seen Rosalind Russell being forced to cry (!) in order to demonstrate her femininity in HIS GIRL FRIDAY. I did not expect a woman's lib film - woman who kept the economy going during the war were sent back to their cooking pots at the time. But I was not prepared to see Bette's complete and merciless humiliation. Not Bette! While Montgomery taunts her she implores him to permit her to give up her career, carry his suitcase, and follow him around the world: he gives her a cold look before stating his terms: Berlin (For a look at Berlin 1948 watch Billy Wilder's A FOREIGN AFFAIR), Afghanistan...

Poor Bette! At age 40 she was marked to be ousted from Warner Brothers. She made cheaper films in her life, but I can't remember one where she seemed more helpless: Looking haggard and intimidated, she recedes into the background while everybody around her is stealing her scenes: Dry-witted Fay Bainter, who gives matronly Ma a brutish massage, the elder sister who is a beauty, the younger sister (Betty Lynn), who is the film's saving grace. Her endearing performance puts new life into the old cliche of the tomboy who becomes a lady. A while ago I watched Montgomery in RAGE IN HEAVEN where he merely said his lines without acting, because he did not want to play the part. Here he definitely acts - his drunken scenes seem interminable, he even lands on manure heap and is kissed by a little pig - and it's a singularly unattractive performance. I can't say that those two films have endeared this actor to me.

Ms. Davis
Oh what can be said for Bette except that she was one of the best stars of all time.... I have about 11 movies of hers and my collection is growing rapidly.....This was a very good movie a must see..... ... Read more

Reviews (3)

a great film!
This is one of Danny Kaye's funniest and greatest I think. It's a must to see for any Danny kaye fan or fan of comedy and is one oyu never tire of watching. Virginia Mayo and Vera Ellen are great in it as well.

Milquetoast milkman turned middleweight champ!
Charming and lighthearted comedy in gorgeous color about a milquetoast milkman who becomes middleweight champion of the world--only in a Danny Kaye (or Bob Hope) vehicle could this happen convincingly. Kaye delivers his usual winning combination of naivete and spunk as Burleigh Sullivan, an endearing and mild-mannered milkman who inadvertently finds himself on the road to success and glory when he is mistakenly credited in the papers with having knocked a man out that he unwittingly got in an altercation with--a man who turns out to be the reigning middleweight world champ! To try to rectify this humiliating situation, the current champ's promoter arranges for a match-up between his boy and Burleigh. Along the way, Burleigh hilariously goes from a nice, down-to-earth person to an arrogant, loudmouthed show-off with an ego out of this world as he "wins" one bout after another to qualify for middleweight contender. The rest of the cast is top-notch--blond beauty Virginia Mayo as a glamorous yet wholesome singer named Polly Pringle, Burleigh's sweetheart who soon gets disgusted with his overbearing manner and longs for the sweet boy she initially fell for; lovely Vera-Ellen as Burleigh's sister Susie (with her dancing talents nicely showcased in a couple of musical scenes); Walter Abel as Gabby Sloan, the exasperated yet resourceful boxing promoter; and Eve Arden provides a lot of dry humor as Gabby's gal Ann Westley. Particularly good is Steve Cochran as "Speed" McFarlane, the current champ and Burleigh's opponent, who falls for Susie and she for him when she discovers what an on-the-level, decent chap he turns out to be. It's mystifying why Cochran never got to be a big star since he had looks, appeal, and some talent, effectively playing tough guys with a soft side, as in this film, to bad guys rotten throughout--oh well, the vagaries of Hollywood. One of the most hilarious scenes in the movie is when Burleigh's super-ego is displayed full throttle when he interrupts Polly's performance at a charity event by making an outrageously grand (and very loud) entrance complete with a procession of Russian acrobats and marching band! A great comedy which still sparkles and is refreshing to this day.

Another great performance
One of Danny Kaye's lesser known films, but on a par with classics like Walter Mitty and Court Jester. Kaye is at his best playing the unwitting pawn who always comes out on top. A definate "must-have" for any fan of Danny Kaye's work. Now how about a DVD version? ... Read more