Reviews (22)

"Tis a far, far better thing..."
than a lot of other movies, that's for sure! What a wonderful adaptation of Charles Dickens' "A Tale of Two Cities". Like so many of the great author's works, this story is crammed full of images famous outside of the work itself: Madame DeFarge and her incessant, malevolent knitting, Dr. Manet lost in his cobbling, Sydney Carton offering the ultimate love sacrifice. Ronald Colman gives a splendid performance as the world-weary Sydney, and looks surprisingly young without his trademark moustache. Among the good supporting cast, Edna May Oliver, as always, steals the show as the prim Miss Pross, chaperone to Lucie Manet, daughter of the unfortunate doctor held captive in the Bastille for half a lifetime. Like all pre-GWTW Selznick pictures, the movie has an air of the antique about it (like "David Copperfield" and "Little Women"), but for a story set in the distant past, that makes sense. It had been many years since I last saw this piece, and what surprised me were the excellently done mob scene when the French peasants charge the Bastille, and when Madame DeFarge denounces Charles Darney in the witness box. Usually, the only scene excerpted from "A Tale of Two Cities" is the last guillotine shot, but I think it's a disservice to the film to not show more of these other great scenes to a larger audience. "It was the best of times" seeing this grand old film--take my work for it, and rent it yourself.

COLMAN'S FINEST HOUR.
Originally released for Christmas in 1935, this splendidly produced, atmospheric and magnificently acted film displayed M-G-M's flair for filming literary classics - DAVID COPPERFIELD was released earlier that year - with no expense spared; the storming of the Bastille sequence employed several thousand extras and was filmed on one of Hollywood's largest sets ever. Ronald Colman was intially reluctant to play the role of Sidney Carlton, that charming but dissolute lawyer who commits the ultimate self - sacrifice ...... It took great persuasion to make Colman shave off his trademark moustache for the role of Carlton, but he delivered more than likely his finest performance ( Later in his life, Colman admitted this was his personal favourite of all his roles ). Charles Dicken's stirring classic of seventeenth-century Paris and London and the events surrounding the French Revolution had been filmed as silents on four different occasions -twice each in Great Britain and America - this easily remains the definitive masterpiece. Under Jack Conway's meticulous direction, A TALE OF TWO CITIES offers memorable performances by a fine cast, including the marvelously hammy Blanche Yurka, frightening Lucille LaVerne, vinegary Edna May Oliver, despicable Basil Rathbone, eloquent Henry B. Walthall ( he was the "Little Colonel" in BIRTH OF A NATION ) and, in a radical change of pace, the dimunitive Isabel Jewell, as the pathetic seamstress who accompanies Colman to the place of his execution.

MAKE THIS AVAILABLE AGAIN, PLEASE
They don't make 'em like this anymore - and that is a shame. A fast-paced, interesting plot which does not insult the viewer's intelligence...crisp, elegant dialogue...fantastic acting. Compare this to the fare of our day, which is sludge written, directed, and acted by and for morons (generally speaking, of course).

Full disclosure: My late grandfather, the original Mr. A, is in this movie (he is one of the extras storming the Bastille).

Cinema and Colman Congradulated
Having recently read the novel cover to cover, and falling madly in love with the character of Sydney Carton, I felt it was time to see MGM's take on the novel. So, I chose the 1935 version of A Tale Of Two Cities since I love the classics; and I hear that is rare for someone only seventeen! Anyways, Colman's performance of the beloved hopelessly and helplessly in love Carton, had me in happiness and romantic sympathy. I don't think I have ever been so emotionally shaken with any film like this one. It is a film that lays true enough to the novel, and to the characters. It is the best film adaption of the novel you can find, and the greatest performance of Sydney Carton you will ever hope to see. I raise a taost to Ronald Colman for his magnificence and grip on the character, and another toast to the entire film for keeping my eyes and mind on the story and its characters struggles in life and love, and the pursuit of self.

Amazing film
I've been on a Colman kick lately, thanks to a friend who is an ardent fan of his. So, I went to rent some movies, saw this one, and brought it home.

I'm a little funny about costume dramas. As a rule, I find them incredibly boring. But, I like Ronald (listening to him talk is almost worth watching a boring movie for), and I was pleasantly surprised with "Marie Antoinette", so I thought... I will try this one out.

The story was not only gripping, it was very emotionally powerful. I just don't cry over movies. Sometimes, I *almost* will - but with this one I just couldn't keep the tears back. It started when little Lucie started crying for her father and didn't stop from that point to the end of the movie. I knew what Sydney was going to do, and while waiting for him to do it, I dreaded the time when it would come and admired him. Sydney Carton is my hero of the day and will be forever enshrined in my hall of cinematic heroes. (Okay, so it was a book first, but I've never read the book.) He was so sweet to that poor seamstress, too.

Anyway, tears and emotion aside, this is a fascinating and terrifying glimpse into the bloody insanity of the French revolution and the terrible things that happened to the innocent right along with the guilty. Horrible proof of how a mob, once aroused, can be nearly impossible to stop. Basil Rathbone turns in a fabulous performance as the cold-hearted nobleman who can run down a child in the street and go on his way without blinking twice. Ronald Colman as the slightly sodden but thoroughly unselfish advocate. He can say so much with his eyes. The Christmas service scene was unbelieveably moving.

I fear I'm not making much sense. Let's say this film left a deep impression on me, definitely will be a favourite from now on. I recommend it highly. ... Read more

Reviews (4)

the visionary of Lourdes
Based on Franz Werfel's 1942 best-seller, this is an exquisite telling of the life of Bernadette Soubirous, who in 1858 at the age of 14 saw a vision of the Virgin Mary in a grotto near the small village of Lourdes, where she lived with her family in abject poverty. Bernadette received much opposition from the atheistic town authorities, as well as initially from the clergy, but kept her faith in "The Lady", and it gave her a wisdom when questioned by the unbelievers that went beyond her natural understanding.

Jennifer Jones is superb as the simple Bernadette, and she tells the story with her eyes; there are many scenes where the camera focuses on her face, and one can tell what is happening by her expressive gaze. Director Henry King screen tested many actresses by placing a stick behind the camera, and telling them to look at it, and imagine the Virgin Mary...King said that Jennifer was the only one who "saw", while the others merely "looked".
The supporting cast is wonderful, with many standout performances; I especially like Charles Bickford as the Dean of Lourdes, Lee J. Cobb as Dr. Dozous, Anne Revere as Bernadette's mother Louise, and as a lifelong adversary, a prideful nun who is jealous of Bernadette's visions, the terrific Gladys Cooper.

The film was a huge box-office success, as well as receiving critical acclaim, and was the most nominated film at the 1943 Oscars, with 12 nominations and 4 wins. It won for Best Actress, Best B&W Cinematography (Arthur Miller), Best Score (Alfred Newman), and Best Interior Decoration. The nominations were for Director, Editing, Picture, Screenplay, Sound, Supporting Actor (Bickford), Supporting Actress (both Cooper and Revere).
At 2 hours and 36 minutes, this is a film that is totally engrossing, and the time spent with it is very rewarding.

Cannonized in 1933, Bernadette's legacy continues to flourish; over 200 million people have visited the shrine, and though I have never been there, one of my few treasures is a "souvenir" cross that contains water from the spring at Lourdes (which continues to produce over 25,000 gallons a week), and proving that those in the film portrayed as wanting to commercialize the water from the site have succeeded beyond their expectations.
"For those who believe in God, no explanation is necessary. For those who do not believe in God, no explanation is possible".

Beautifully Poignant True Story Of St. Bernadette Of Lourdes
Called "The Sleeping Saint of Nevers", simple peasant girl Bernadette Soubirous gained the world's attention when on an excursion to collect firewood near her home in 1858 she claimed to see a vision of the Holy Mother in a sheltered Grotto. The world wide controversy and the birth of Lourdes as a sacred sight for pilgrims seeking salvation made her story a wonderful basis for a possible film about this puzzling occurence. While Bernadette received alot of ridicule during her lifetime, being labelled a liar and a madwoman by many, this beautiful movie from Twentieth Century Fox presents her story in a touching, non sentimental and objective manner.It not only treated her experience with reverence but produced a fine balanced and beautifully acted classic that is still one of the best religious films ever produced by Hollywood. Jennifer Jones as Bernadette is remarkable and her total grasp of the character, full of wide eyed innocence but inner strength in her beliefs is an astoundingly mature piece of acting for a girl so young at the time of filming.

Based on the novel by Franz Werfel, Fox adapted it into a beautiful screenplay dealing with Bernadette's vision of "a beautiful lady", near her home and the everlasting consequences of that for both herself and the world. The film starts off by filling us in with some of the background of this quite ordinary french peasant girl, who struggled to learn her catecism at school and was a good but not extraordinary daughter to struggling parents Francois and Louise Soubirous (Roman Bohnen and Anne Revere). The families lives are changed forever after Bernadette arrives home one afternoon strangely different claiming that she saw a vision of the Holy Mother in a nearby grotto. Asked to return by the lady on successive days Bernadette begins to arouse the curiosity of the local villagers and before too many days are passed a huge crowd begins to follow her to the grotto to pray. News spreads throughout France and soon the little town is overrun by pilgrims seeking salvation from the Holy Mother. Of course not everyone is impressed or influenced by this vision as greed begins to raise its ugly head among the villagers who see a way of making money bottling and selling the water that has sprung from the grotto. Skepticism also increases in particular from local doctor Dr. Dozous (Lee J. Cobb) and senior members of the Catholic Church who question Bernadette's sanity and begin to investigate her. Bernadette however is simple in her beliefs and cannot be swayed by the questioning she receives in particular from the Dean of Lourdes (Charles Bickford), and especially the aggressive Imperial Prosecutor Vital Dutour (Vincent Price). So strong is Bernadette's simple set of beliefs that she eventually wins over these two opponents who at least acknowledge that something did happen at the grotto. Bernadette's uncomplicated power over people again occurs once she takes the veil and arouses the emnity of Sister Marie Vauzous (Gladys Cooper) a nun who opposes Bernadette but is transformed into her biggest support just before Bernadette's tragically early death.

It is the power of the writing and especially the lead performances which help make "The Song of Bernadette", such a magical viewing experience. The film ended up winning a richly deserved 4 Academy Awards including those for best musical score and cinematography. Jennifer Jones in her balanced and non showy interpretation of the French peasant girl rightly won the Best Actress Oscar for 1943 but the other characters are really just a memorable in their disbelief and then in their gradual realisation that a true miracle has occured. The unique thing about this film is that it is able to be appreciated by non religious viewers just as much as Catholics as it is more a story of simple faith in your beliefs and in honesty with one's self than about any one particular religious way of thinking. The film abounds with great performances especially Vincent Price and Gladys Cooper who both deliver excellent work as the cynical nun and prosecutor who are transformed by the simple evidence of Bernadette's belief in what she experienced. Directed in a straight forward and non glossy style by veteran Henry King, never once does he let the interpretation of Bernadette become bogged down in saintly platitudes or tugs at the heart. It is a huge credit to Jennifer Jones that always she appears to be this simple girl, who is fairly average and full of insecurities and certainly not a candidate for some extraordinary sainthood.

Films like "The Song of Bernadette", rarely come along these days. I always enjoy screening it over the Easter period and Jennifer Jones really is cemented into peoples minds as the true image of how St Bernadette would have looked as a young girl. I often wonder about the happening in the Grotto of Lourdes and my study of St. Bernadette's life really fills me with a belief that something amazing did occur there. Importantly I feel this film tells us to maintain our belief in what we truly believe in, whatever it is and that like Bernadette a person doesn't have to be someone important to be picked out for something special. Treat yourself to a viewing of this wonderful film soon and marvel at the terrific work of Jennifer Jones in her most famous role as St. Bernadette of Lourdes.

The most sublime and moving of Hollywood's religious films
There are very few "religious" films that actually achieve a sense of spirituality that makes them work for believers and non-believers alike. "The Song of Bernadette" is one of those rare films, and owes a lot of its power to the Oscar winning performance of Jennifer Jones as Bernadette Soubirous, the young French peasant girl who in 1858 saw a vision of the Virgin Mary in a grotto near the town of Lourdes. While gathering firewood with her sister and a friend, Bernadette was told by the "beautiful lady" to return to the grotto every day for fifteen days. The common folk of Lourdes come to belief in young Bernadette's visions, while the authorities try to put a stop to the nonsense, and the church keeps its distance for the moment.

As Bernadette, Jones is the calm center at the heart of the storm. The scenes in which Bernadette sees the Lady (an unbilled and pregnant Linda Darnell) are presented by director Henry King with a elegant simplicity. Bernadette has a strong and simple faith, which is how she is able to endure the battering by those around her. It is in her victory over these opponents that make this story work, and Bernadette's opponents are a superb cast of supporting players. Charles Bickford is Peyramale Dean of Lourdes, who has to deal with the idea that this lazy and less than intelligent peasant girl has seen the Virgin Mother, Vincent Price the cold hearted local prosecutor Dutour, Lee J. Cobb as the reasonable and scientific Dr. Dozous, Anne Revere as Bernadett's mother, and Gladys Cooper as Sister Vauzous, the nun whose jealousy of Bernadette has quite an emotional payoff in the film.

A best selling version of Bernadette's story was written by Franz Werfel in 1942 and 20th Century Fox bought the rights to make an ambitious screen version which manages to avoid the faults of sentimentality. They also searched for a newcomer for the title role and looked at Anne Baxter, Teresa Wright, Linda Darnell and Gene Tierney before settling on Jones, who had small parts in two previous films as Phylis Isley and was renamed to have a clean slate as an actress. Winning the Oscar pretty much speaks to the success of their efforts. The film also deservedly won Oscars for Arthur Miller's cinematography and Alfred Newman's score. Ironically, Newman replaced the famous composer Igor Stravinsky on the film, and the second movement of Stravinsky's Symphony in Three Movements evolved from his original unused score.

Wonderful and Fascinating Account of St. Bernadette!
The Song of Bernadette is a wonderful movie about Bernadette Soubirous the young French peasant girl who saw the visions of The Virgin Mary at Lourdes. A fascinating movie. BTW: Bernadette was later made a Saint by the Catholic church. I had this movie on tape and I'm one of these days hoping to buy the DVD now that it has finally been released to the wonderful DVD format! ... Read more

Amazon.com

Jennifer Jones plays the legendary French peasant who claimed to have dialogues with the Virgin Mary at a Lourdes grotto in 1858. The script handles the visitations as an article of truth (Linda Darnell plays the Virgin), which helps move the drama forward, though much of the story concerns the conflicts that arise in the community after Jones is told the grotto contains healing waters. Made by Henry King (The Snows of Kilimanjaro), the film is gorgeous to look at and sensitively directed; and Jones (who won an Oscar for Best Actress) is radiant in the lead. Whatever one's religious persuasion, this is a strikingly handsome Hollywood production to be enjoyed. The film also earned Academy Awards for cinematography and score. --Tom Keogh ... Read more

Reviews (38)

Wonderful, But Still Missing...Something
This is a wonderful, even classic, adaptation of Franz Werfel's haunting, heartbreaking story of the Lourdes apparitions. The cinematography is excellent, the characters are handled with respect and realistic flair, and Jennifer Jones seems to be channeling Bernadette Soubirous in convincing fashion. The film's flaws? Sentimentalism in some cases bogs it down, especially when the angelic choirs start to sing lauds as the 'vision' makes its appearance. Corny to the extreme, if you ask me. The initial moment of the apparition was a stark and frightening one for Bernadette, according to the gathered records of the incident(s), not an experience accompanied by cheery seraphic warblings. This scene should have been filmed in a stark manner, to capture the surprise, abruptness, initial terror, and realism of the experience. Secondly, the actual Virgin Mary figure (played by a somewhat plumpish Linda Darnell) is also a bit garish: she resembles any of the cheesy, cheap, grotesque plaster "Mary" lawn ornaments that are the hallmark of Catholic kitsch.This stereotypical Mary is an unfortunate cop-out. The film makes no attempt to capture the haunting dignity and true historical nature of Bernadette's visitor, whom the seeress herself described in early testimony as "ou petito damizelo"--a "little pixie-girl," no more than 13 or 14 years of age and certainly not maternal in any way whatsoever. What the film DOES successfully capture is the impact of the many miraculous, mysterious events that descended upon a real town, among real people. It also captures a glimpse of the special, undeniable love shared between Bernadette and the enigmatic being who revealed herself only (and perhaps with a wistful sense of irony) as 'the Immaculate Conception.' A fine, fine film and worth owning for anyone of pure heart.

INSPIRING FILM - DISMAL TRANSFER
"The Song of Bernadette" is a film that by all accounts should distill into a religious pot boiler. And yet there is something haunting, awe inspiring and yes, even stirring about this tale of a child, Bernadette Soubirous (Jennifer Jones) who, after witnessing visions of the Virgin Mary, begins to have miracles performed in the small French town of Lourdes. Jones is angelic, tenderly conveying the warmth, innocence and poignancy of someone truly touched by the hand of God. Anne Revere is cast as Bernadette's non-believer mother. Vincent Price turns in a wicked performance as the town magistrate who, weary that Bernadette's claims will insight religious fervor, threatens the child with imprisonment unless she ceases with her visions. Charles Bickford and Gladys Cooper give outstanding performances as the skeptical priest and nun who come to believe that Bernadette is divinely inspired. Truly, this is a film that requires a whole box of Kleenex to get through. It is haunting, stirring and overall life affirming.

However, the transfer from Fox is poor, even though it improves upon previous VHS and Laserdisc versions. Though the B&W picture exhibits sharpness and better balancing of the gray scale the image is digitally harsh and suffers from an excessive amount of film grain. Aliasing and shimmering of fine details is evident throughout. Pixelization is another down fall. The audio has been cleaned up and is well presented.
Extras include a Jennifer Jones Biography, an audio commentary, a Movietones trailer, some Fox promotional stuff for other movies in their classic series, a restoration film to video comparison that proves that at least some work was done on the transfer before sending it out to DVD and this film's original theatrical trailer.

The Song of Bernadette
This movie had a deep and profound impact on me when I first watched it on television as a young teen. It is beautifully done a real tribute to film making. The acting is outstanding and I fully believed and empathized with young Bernadette as portrayed by Jennifer Jones. I was a protestant at the time I first watched the movie. The effect it had on me sent me on a journey that eventually lead me to Medjugorje and then to becomimg Catholic. I strongly would recommend this film to everyone. It is beautiful, moving, very touching, a profound experience for all who have an open heart.

Excellent
Written by a Jewish man, The Song of Bernadette, is wonderfully brought to the big screen. Typical of old black and white "Hollywood". Very well acted, full bodied characters. A great family movie.

Universal Thematic Appeal
The Song of Bernadette begins with the classic quote, "For those who believe in God, no explanation is necesary. For those who don't, no explanation is possible."

That having been said, one need not be religious to enjoy this film. What makes the movie so enjoyable is that it contains man's universal struggle with religion and his sense of meaning. Vincent Price does an excellent job of portraying the fatalistic expert, while Church officials are accurately protrayed as questioners - but not outright denyers - of the possibility of miraculous events.

Jennifer Jones is fantastic, and accurately portrays the reported humble nature of St. Bernadette.

Definitely one to see at least once. ... Read more

Reviews (2)

CORNY BUT FUN
Joan is a riverboat queen who runs her casino with the aid of political boss Wayne. I saw this movie years ago in California and thought it was corny but cute. Certain scenes are rather ludicrous such as the raven in the window foretelling evil ahead and the malevolent presence of Blanche Yurka as Julia Alderson lingers in the memory for her campy playing. Yurka tries to poison Blondell when she tries marrying into the Alderson clan, but alas the potion is drank by a family member and guess who is charged? There are several musical numbers such as Blondell singing "Up in a Balloon" . A harmless way to while away an hour.

AN OKAY FILM
If you don't expect anything amazing, you'll enjoy this film. It's well-intentioned and could have been more, but it just doesn't have that magical chemistry that makes for a great movie. The plot is a bit hokey and predictable, but it wasn't trying to be anything more than that in the first place. Not a must-see, but a nice southern romance full of intrigue type of movie to sit back and relax with. ... Read more

Description

A divorced woman moves to a new city with her child, trying to build her life again. She joins the choir of a local church but has some personality conflicts with the choirmaster, a curmudgeonly old gentleman who will accept nothing but perfection from his group. As Christmas approaches and the choir practices for a big show and the director pushes them all to their emotional limits, she contemplates quitting the group. ... Read more

Reviews (5)

Blinded by the Light
CITY FOR CONQUEST could have been just one of those late 30s fight movies with an underdog battling for the title. But thanks to director Anatole Litwak and a sterling cast led by James Cagney, Ann Sheridan, and Arthur Kennedy, the result tells a timeless tale based on the adage that Broadway devours the very performers seeking to bask in its bright lights. This movie is not only a forum for Cagney, but it instead functions as a three way tale with Sheridan and Kennedy facing a similar destiny: how far can one go in pursuit of the Golden Dream? Their collective fates are intertwined as they seek the spotlight. Cagney is Young Samsom, a talented welterweight who fights only occasionally since he realizes that the fight business is likely to lead only to post-career punchiness. Kennedy is his brother Eddie, a pianist who dreams of someday conducting an orchestra at the Carnegie, but is instead reduced to banging out cheap jitterbug tunes to make a buck. Sheridan is Peg, a dancer whose eyes are filled with the glare of a Broadway that leaves no room for the love of a boxer who fights only to please her. Of the trio, it is only Kennedy who remains true to his talent. Cagney sells out to win back Sheridan, who in turn sells out by dumping Cagney for a smooth talking dance partner, (Anthony Quinn), in whose oily charm very nearly steals the show. The glare of the lights of Broadway does far more than light up the stage for wannabes. It functions as a metaphor that tests the ability of these star wannabes to recognize the twin-edged danger that stardom promises. For some, like Kennedy, those lights motivate them to try harder while not surrendering their basic selves to a glare that can destroy as easily as it can attract. For others, like Cagney and Sheridan, those bright lights produce a blindness that results in a near-tragic ending that resonates even many decades later.

Symphony For New York
James Cagney stars as Danny, a boxer otherwise known as Young Samson, who sacrifices much so that his younger brother, played by Arthur Kennedy, can pursue his gift for music. Ann Sheridan, a dancer from the neighbourhood, is the girl Cagney loves, but she wants badly to get out of their old neighbourhood and to make something of her life, and she wants it so much she ends up in a destructive relationship with ambitious dancer Anthony Quinn. Cagney is strong as usual, but more sympathetic than other films, as the man with the big heart. Sheridan gives a strong performance as well, really delivering in a number of scenes with simple reaction shots. Kennedy is equally passionate as the composer whose symphony captures the life of New York City. The supporting cast is full of familiar, welcome Warner Bros character actors like Frank McHugh, George Tobias, Jerome Cowan, Donald Crisp, and Lee Patrick. New York City also becomes a character, thanks to the evocative music and the backdrop atmosphere. People have said the ending is too sentimental, but Cagney and Sheridan pull it off and make it work. The more Cagney films I see, the more amazed I am by his talent. The film is a showcase for him and also New York. It does both proud.

Overlooked Warner Bros. Classic
During Hollywood's Golden Age, no one made better pictures about New York than Warner Bros., and this one is by far the best. The film contains something for everybody--boxers, dancers, gangsters, romance and music. Although James Cagney felt the storyline strayed too far from the novel on which it was based, he gives a typically outstanding performance, as does Ann Sheridan in perhaps the finest role of her career. The film also features newcomer Arthur Kennedy as Cagney's musical brother, who composes a symphony (actually by the brilliant Max Steiner) that transcends usual movie scoring. In addition to several members of Warner Bros. stock company are a young Anthony Quinn and future controversial director Elia Kazan. A beautiful, regrettably unsung classic.

What a great flick!
Some of the best second-line actors get to step forward and do their stuff -- and several stepped forward to become first-line. Sentimental in places, sure, but if you liked "Boyz in the Hood," you can just go back 50 years and switch from the West Coast to the East, and this is where you'd end up: Tough kids in a tough world, with some making it and some falling by the wayside. And, yes, the rape scene is significant, not only for getting past the censors, but for the way it showed Peggy's desperate need to get out of the old neighborhood. There are more artistically perfect films out there, but for guts and memorable moments, this is an outstanding flick!

Cagney as Cagney
Arthur Kennedy shines a Cagney,s brother in this interesting film. The whole cast does its best but it seems very trite in the end. Ann Sheridan, Anthony Quinn, Donald Crisp , Jerome Cowan and Kazan as "googie" are all around to add flavour..but this film lacks legs in many ways...and is very sentimental.. ... Read more

Reviews (3)

Oi Vey!!!!
The previous 2 reviewers have outlined the plot very well so not much more can be said about that. I'd just to tell the guys who are considering purchasing the Alpha DVD that the quality here isn't too good. Source material was obviously VHS tape (you can see the occasional video drop-outs) and it looks very much like an LP version at that. Very poor definition. Could have been a lot sharper. Also the print is very contrasty. The blacks are REALLY black and the whites are blinding. There is also a considerable amount of lag. When a white face moves against a black background it leaves a kind of "comet's tail" to put it loosely. Also various other things appear.... like a cluster of white "arrowheads" pointing to the right (as if someone just pressed the fast-forward button on the VCR) or just the occasional flash of pure white jumps out at you. The movie itself is one of the better comedy thrillers with some funny lines... many of them from Bela... but a poor transfer. (sigh!)

Classic B Movie Fun
One Body Too Many a 1944 black and white movie is not an especially good movie. BUT, it is a fun movie. It is a silly horror/comedy type B movie that became the meat and potatoes of so many early studios. I love it. Jack Haley is Albert Tuttle a nose to the grindstone insurance man who has an appointment with an old rich recluse. He arrives at his mansion and is seen in by the butler (Bela Lugosi). He is shown into his clients office and immediately starts his spiel to the back of a chair and smoke coming from a lit cigar. However, unbeknownst to Tuttle the client is dead and in his coffin in the office. Tuttle lays his brief case on the closed coffin before he realizes just what is in the room. When he does try to get out, he can't open the door, etc. This movie is filled with every conceivable cliche imaginable. But that's the fun of it. A huge dark creepy house, a will to be read, a suspicious looking butler and cook, a beautiful damsel in distress, a dim witted detective, a houseful of greedy family members of the deceased, murders, trick doors, screams and noises at night, etc. Of course, a very nervous and reluctant hero. This kind of movie would be nothing without Lyle Talbot and he is here as the family member who thinks timid Jack Haley has something to hide.I have had this movie for years and every once in a while I dust it off to watch it again because sometimes you need a little harmless fun. (~.~)

Several Thrills Too Few...
This is yet another of the gathered-for-the-reading-of-the-will-in-the-spooky-house with-secret-passages-and-a-murderer subgenre. And while I find it hard to believe that there is anyone who legitimately can hate these kind of movies, there are admittedly some that work far better than others. One Body Too Many finds middle ground.

It begins with some cleverness in setting up the scenario. The will's gimmick is farfetched but assured an offbeat night of criminal mayhem: The deceased, an astrologer, wishes to be buried above ground so that the stars shine down on him. If anything happens so that he is not, then the heir who was supposed to get the most will instead get the least, and vice versa. The body disappears, then reappears, then someone else is murdered... it's all expectedly, even appropriately, convoluted.

Our hero is a life insurance salesman who is mistaken for the detective assigned to guard the body from shenanigans. And there is real inventiveness in placing a life insurance salesman in this situation, where people are sure to be bumped off. Unfortunately, this knowing wink to the audience is barely explored at all. The hero himself is an average-looking guy, more likable and less wimpy than many 40's B heroes. And he is surrounded by a capable, if unspectacular, cast.

Lugosi is wasted, although his stock Ominous Butler character is interestingly played for laughs this go-round, ready and willing to bump off anybody who anyone else thinks needs bumping off. Watch out for the coffee.

This is of course, a comedy/mystery, as every picture in this genre has been since The Cat and the Canary in the 20's. And the comedy is generally the determining factor in how watchable these kind of films are. Here it is not too bad, consisting less of the typical scared mugging and awkward pratfalls than many similar efforts. Only in its dull, protracted middle section does the film lose its way, as the hero gets lost in the ubiquitous secret passageways, caught in a wicker basket with a litter of kittens and wearing only a towel. Don't ask.

There are a number of good scenes, including one where the hero, hiding in a coffin, is carried off and dumped in a pool. The movie ends with a suspenseful chase and confrontation atop the observatory. But there is not enough made of the good ideas in the script, and too much damage is done to the whole by the weak or old ideas in the script. You've seen much of it before, so it's not quite worth a purchase. Close but no cigar.

See also: The Cat and the Canary; Black Cat (1941); Night Monster; Old Dark House; The Monster Walks; The Gorilla; Seven Keys To Baldpate; The Bat Whispers; and many, many more, if you are so inclined. ... Read more

Reviews (8)

Jean Renoir's film about a Southern family living on a farm
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. This film is one of those films honoring the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky scene-stealing granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

A Southern family sets up a farm in this Jean Renoir film
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. The film is one of those films honorable the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

TOUCHING
A sincere film, real, poignant, believable, and excellently acted all around. It tells the story of the hardships lived by a poor family in the country. For sure in my top ten list! Unforgettable!

5 stars for movie, 3 for DVD quality
Renoir's "The Southerner" captures the gripping poverty of southern share croppers. It has a good story line, beautiful black and white cinematography, and fine acting. In fact my only objection is that the actors did not have much of a southern accent and looked "too pretty" at times for their environment.

This is a film that cries out for restoration, as has been done with the wonderful Criterion Collection DVD of "Grand Illusion". As it is, I rated this 4 stars because of the 2 to 3 star poor condition of the print used...black lines, jumping images at times and poor soundtrack. Well, you can't have everything and would still recommend seeing this movie. Together with "Grapes of Wrath" and "Salt of the Earth", it draws a powerful portrait of the power of a family and human kindness in a struggle against grinding poverty.

The American South As Seen by a French Director
If you loved Grand Illusion and Rules of the Game, this movie is probably not for you. Directing in a language and culture not his own, Jean Renoir drifts toward the corny and stereotypical in this melodrama about a desperate Southern farmer and his beautiful wife. The dialog is especially artificial, spoken by handsome, well-groomed actors out of central casting. If you're interested in the authentic southern or Appalachian poor, see Walker Evans's 1930s photographs. Stick with the Renoir movies shot in France. ... Read more

Description

Based on the Pulitzer Prize-winning novel by Thornton Wilder, "The Bridge of San Luis Rey" tells the story of a rickety bridge that has spanned a deep gorge for ages. When the bridge suddenly collapses--plunging five people to their deaths--the tragedy causes a wave of superstition to engulf the villagers as they believe they are destined for continued misfortune. Only a priest can find the connections to divine intervention that will quell the townspeople's fears. ... Read more

Reviews (5)

A bland movie that loosely follows the book
In 1774 Peru, five people are crossing the hundred-year-old bridge of San Luis Rey when it suddenly collapses, plunging the five to their deaths. Witness to this startling event is Brother Juniper who decides to find out why God has chosen those particular five people to bring into His realm. He travels to Lima to meet with Uncle Pio, a local character who knows everyone and everything surrounding Lima. From Pio, Brother Juniper learns how the lives of the five were connected to one another.

Sort of. The movie focuses on only four of the characters, and three of them in a very secondary sort of way. The fifth character, an old man who was transporting grain, is mentioned only in passing. To me that was disappointing, after having read the book, because each of the characters has his or her own unique story which connects with the others. The acting is very wooden, with too many varying accents and some with no accents at all, so it's difficult to believe the film takes place in Peru. (The Spanish viceroy looks and talks decidedly British, whereas Micaela has an American accent, and Uncle Pio sounds Russian when he speaks.)

The one good aspect from this film is the score by Dimitri Tiomkin, which was nominated for an Academy Award. However, even that gets marred by the poor sound quality of this DVD transfer. It fades in and out too much, and at times, I could not hear what was being said.

See this movie if you must, but the book is better.

Competent film version of the Pulitzer Prize winning novella
This is the second of three film versions of the Pulitzer Prize winning novella (134 pages do not a novel make!). The third version is in post-production as we write. Neither of the first two were anything beyond potboiler status, and took liberties with the narrative. I am writing here to correct the negative review on this page from a person in Medford, Oregon. He or she is entitled to his or her opinion, but is not entitled to erroneous information. The 1929 film was nominated for only one Oscar (Art Direction) and won. There was no second nomination involved, let alone a second win.

meaningful film
When I was growing up, this was the first movie other than superficial entertainment that I ever saw. I was so impressed with all the moral implications and human emotions, that I never forgot it ! Seeing it again, after all these years, I found itevery bit as gripping, and the D V D made it even more enjoyable. Of special note is the acting of a great actor, Francis Lederer.

Possibly the worst adaptation ever made of a great novel!
This truly awful movie uses Thornton Wilder's name over the title so you will believe the story that unfolds is Wilder's. Not so! The film bears virtually no resemblance to the novel. Characters are changed beyond recognition, and the story line of the movie might as well have come from some potboiler written by a hack writer (and I'm certain some hack screenwriter wrote the film!). All the great ideas Wilder brilliantly dramatized in the novel have been jettisoned for lurid melodrama badly acted by an almost totally forgettable cast. That this travesty of a film should be released in any format when far more deserving films are left begging shows that someone isn't using their noodle. The first film of this great book was done in 1929 and won two of the first technical Oscars. That film (from MGM) is now unfortunately obsolete. This DVD version not only deserves no awards whatsoever, but should be made instantly obsolete. Don't even bother to rent this movie. Read the book instead.

Excellent Allegory
What was a boring book to read in school several (several) years ago is now available on DVD/VHS.

This version is very true to the stories of the book, keeping track of all the participants from their intoduction until they perish at the infamous bridge.

It is not a terror-laden nail biter of today's standard, but an interesting character study of people, places and events that can (and will) change our lives...You even forget that it's in black and white. ... Read more

Description

Jean Renoir's (Grand Illusion, Rules of the Game) most critically acclaimed American film, The Southerner is a moving, naturalistic portrayal of one family's struggle to start a farm in the South.Tied to the land for better or worse ... Read more

Reviews (8)

Jean Renoir's film about a Southern family living on a farm
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. This film is one of those films honoring the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky scene-stealing granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

A Southern family sets up a farm in this Jean Renoir film
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. The film is one of those films honorable the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

TOUCHING
A sincere film, real, poignant, believable, and excellently acted all around. It tells the story of the hardships lived by a poor family in the country. For sure in my top ten list! Unforgettable!

5 stars for movie, 3 for DVD quality
Renoir's "The Southerner" captures the gripping poverty of southern share croppers. It has a good story line, beautiful black and white cinematography, and fine acting. In fact my only objection is that the actors did not have much of a southern accent and looked "too pretty" at times for their environment.

This is a film that cries out for restoration, as has been done with the wonderful Criterion Collection DVD of "Grand Illusion". As it is, I rated this 4 stars because of the 2 to 3 star poor condition of the print used...black lines, jumping images at times and poor soundtrack. Well, you can't have everything and would still recommend seeing this movie. Together with "Grapes of Wrath" and "Salt of the Earth", it draws a powerful portrait of the power of a family and human kindness in a struggle against grinding poverty.

The American South As Seen by a French Director
If you loved Grand Illusion and Rules of the Game, this movie is probably not for you. Directing in a language and culture not his own, Jean Renoir drifts toward the corny and stereotypical in this melodrama about a desperate Southern farmer and his beautiful wife. The dialog is especially artificial, spoken by handsome, well-groomed actors out of central casting. If you're interested in the authentic southern or Appalachian poor, see Walker Evans's 1930s photographs. Stick with the Renoir movies shot in France. ... Read more

Reviews (5)

Very Entertaining Movie
This is the perfect movie for a rainy night. Grab a bag of popcorn, a pepsi and the family and sit down and watch this movie. Moving into a new place should be exciting, but this couple gets more than they bargained for when a corpse is discovered in their back yard. Ah, but the husband is a published mystery writer and shouldn't have too much trouble solving this whodunit, or will he? This is a fun movie to sit down and watch with the family.

Best Titanic Movie So Far,
This movie would easily be the best Titanic movie around and it would even beat 'TITANIC' 1997 starring Kate Winslet and Leonardo Dicaprio! Despite it been in black and white. For the Titanic fanatics out there, if u want a movie about the TITANIC that's accurate then this is for you.

Wrong Synopsis
You have the wrong synopsis listed for this movie. There was another movie entitled, "A Night to Remember." It's a 1958 release about the Titanic sinking. It's done in a documentary style. The ship's first officer was played by Kenneth More. In many ways this movie is far superior to the Leo DiCaprio recent version.

A pleasantly unpretentious comedy/mystery
As long as you do not expect something as bright and sophisticated as The Thin Man,this should entertain.A mystery writer (Aherne) and his wife (Young) find themselves involved in a real-life murder mystery.Although Aherne and Young never work as well together as William Powell and Myrna Loy,they still gel fairly well,and the script contains enough sharp lines to make this a consistently amusing and amiable little movie.

1942 MYSTERY-COMEDY
An engaging little story has young married couple Young and Aherne (as a writer) moving into a seemingly tranquil Greenwich Village apartment where strange things begin to happen...The Richard Flournoy-Jack Henley screenplay (from a story by Kelley Roos) works hard at being funny by involving the Troys in a variety of false leads and narrow escapes as Jeff (Aherne) tries to find the murderer himself, but there is a little less menace and less fun in the proceedings. Loretta gives us nervous screams and an air of desperation and Aherne does what he can - they try to give their roles demension and play with aplomb. The script is a bit overwritten, but the supporting cast is fun: Blanche Yurka, Gale Sondergaard, George Chandler and Lee Patrick. In my opinion, Donald McBride comes off best as the eloquently irate and bewildered cop. ... Read more

Reviews (8)

Jean Renoir's film about a Southern family living on a farm
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. This film is one of those films honoring the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky scene-stealing granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

A Southern family sets up a farm in this Jean Renoir film
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. The film is one of those films honorable the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

TOUCHING
A sincere film, real, poignant, believable, and excellently acted all around. It tells the story of the hardships lived by a poor family in the country. For sure in my top ten list! Unforgettable!

5 stars for movie, 3 for DVD quality
Renoir's "The Southerner" captures the gripping poverty of southern share croppers. It has a good story line, beautiful black and white cinematography, and fine acting. In fact my only objection is that the actors did not have much of a southern accent and looked "too pretty" at times for their environment.

This is a film that cries out for restoration, as has been done with the wonderful Criterion Collection DVD of "Grand Illusion". As it is, I rated this 4 stars because of the 2 to 3 star poor condition of the print used...black lines, jumping images at times and poor soundtrack. Well, you can't have everything and would still recommend seeing this movie. Together with "Grapes of Wrath" and "Salt of the Earth", it draws a powerful portrait of the power of a family and human kindness in a struggle against grinding poverty.

The American South As Seen by a French Director
If you loved Grand Illusion and Rules of the Game, this movie is probably not for you. Directing in a language and culture not his own, Jean Renoir drifts toward the corny and stereotypical in this melodrama about a desperate Southern farmer and his beautiful wife. The dialog is especially artificial, spoken by handsome, well-groomed actors out of central casting. If you're interested in the authentic southern or Appalachian poor, see Walker Evans's 1930s photographs. Stick with the Renoir movies shot in France. ... Read more

Reviews (5)

Blinded by the Light
CITY FOR CONQUEST could have been just one of those late 30s fight movies with an underdog battling for the title. But thanks to director Anatole Litwak and a sterling cast led by James Cagney, Ann Sheridan, and Arthur Kennedy, the result tells a timeless tale based on the adage that Broadway devours the very performers seeking to bask in its bright lights. This movie is not only a forum for Cagney, but it instead functions as a three way tale with Sheridan and Kennedy facing a similar destiny: how far can one go in pursuit of the Golden Dream? Their collective fates are intertwined as they seek the spotlight. Cagney is Young Samsom, a talented welterweight who fights only occasionally since he realizes that the fight business is likely to lead only to post-career punchiness. Kennedy is his brother Eddie, a pianist who dreams of someday conducting an orchestra at the Carnegie, but is instead reduced to banging out cheap jitterbug tunes to make a buck. Sheridan is Peg, a dancer whose eyes are filled with the glare of a Broadway that leaves no room for the love of a boxer who fights only to please her. Of the trio, it is only Kennedy who remains true to his talent. Cagney sells out to win back Sheridan, who in turn sells out by dumping Cagney for a smooth talking dance partner, (Anthony Quinn), in whose oily charm very nearly steals the show. The glare of the lights of Broadway does far more than light up the stage for wannabes. It functions as a metaphor that tests the ability of these star wannabes to recognize the twin-edged danger that stardom promises. For some, like Kennedy, those lights motivate them to try harder while not surrendering their basic selves to a glare that can destroy as easily as it can attract. For others, like Cagney and Sheridan, those bright lights produce a blindness that results in a near-tragic ending that resonates even many decades later.

Symphony For New York
James Cagney stars as Danny, a boxer otherwise known as Young Samson, who sacrifices much so that his younger brother, played by Arthur Kennedy, can pursue his gift for music. Ann Sheridan, a dancer from the neighbourhood, is the girl Cagney loves, but she wants badly to get out of their old neighbourhood and to make something of her life, and she wants it so much she ends up in a destructive relationship with ambitious dancer Anthony Quinn. Cagney is strong as usual, but more sympathetic than other films, as the man with the big heart. Sheridan gives a strong performance as well, really delivering in a number of scenes with simple reaction shots. Kennedy is equally passionate as the composer whose symphony captures the life of New York City. The supporting cast is full of familiar, welcome Warner Bros character actors like Frank McHugh, George Tobias, Jerome Cowan, Donald Crisp, and Lee Patrick. New York City also becomes a character, thanks to the evocative music and the backdrop atmosphere. People have said the ending is too sentimental, but Cagney and Sheridan pull it off and make it work. The more Cagney films I see, the more amazed I am by his talent. The film is a showcase for him and also New York. It does both proud.

Overlooked Warner Bros. Classic
During Hollywood's Golden Age, no one made better pictures about New York than Warner Bros., and this one is by far the best. The film contains something for everybody--boxers, dancers, gangsters, romance and music. Although James Cagney felt the storyline strayed too far from the novel on which it was based, he gives a typically outstanding performance, as does Ann Sheridan in perhaps the finest role of her career. The film also features newcomer Arthur Kennedy as Cagney's musical brother, who composes a symphony (actually by the brilliant Max Steiner) that transcends usual movie scoring. In addition to several members of Warner Bros. stock company are a young Anthony Quinn and future controversial director Elia Kazan. A beautiful, regrettably unsung classic.

What a great flick!
Some of the best second-line actors get to step forward and do their stuff -- and several stepped forward to become first-line. Sentimental in places, sure, but if you liked "Boyz in the Hood," you can just go back 50 years and switch from the West Coast to the East, and this is where you'd end up: Tough kids in a tough world, with some making it and some falling by the wayside. And, yes, the rape scene is significant, not only for getting past the censors, but for the way it showed Peggy's desperate need to get out of the old neighborhood. There are more artistically perfect films out there, but for guts and memorable moments, this is an outstanding flick!

Cagney as Cagney
Arthur Kennedy shines a Cagney,s brother in this interesting film. The whole cast does its best but it seems very trite in the end. Ann Sheridan, Anthony Quinn, Donald Crisp , Jerome Cowan and Kazan as "googie" are all around to add flavour..but this film lacks legs in many ways...and is very sentimental.. ... Read more