Tim Kelly is an orphan who runs away after his orphanage burns down. Presumed to be killed in the fire, he is able to roam the streets of New York freely. He meets Max Ginsberg, an old ... See full summary »
Edward F. Cline
Lydia Yeamans Titus,
Hard-hitting news editor Jim Branch falls for high-society type Sharon Norwood but can't get to first base as he continually makes use of her knowledge of the rich and famous to try to ... See full summary »
Robert Z. Leonard
Mr. and Mrs. Bennet have five unmarried daughters, and Mrs. Bennet is especially eager to find suitable husbands for them. When the rich single gentlemen Mr. Bingley and Mr. Darcy come to ... See full summary »
Robert Z. Leonard
Child bride Claudia Naughton has made life difficult for her husband David because she can't stand living so far away from her mother. She's also afraid her husband doesn't find her ... See full summary »
Follow-up to hit film Claudia (1943) finds title characters (Dorothy McGuire, Robert Young) dealing with the ups and downs of marriage and parenthood in their rural Connecticut town. ... See full summary »
The thoughts that people think are never the same as the words they speak - and in this movie, we can hear the thoughts. Gordon Shaw was a flyer who was shot down and killed during WWI. Nina would have married him before he left, but her father forbade the marriage. Charlie is a friend, but Nina does not love him and he is too timid- too shy - to tell her the way that he feels about her. Sam is her husband and her love disappears after the ceremony when she finds out that there is mental illness in his family and that there can be no children. To have the child she wants, but cannot have with Sam, she has a secret affair with Ned, who wants her to leave Sam. Gordon is the result of the affair, but he does not know Ned is his real father. Nina continues to play with the emotions of all three men and devote herself only to Gordon.Written by
Tony Fontana <email@example.com>
When Maureen O'Sullivan first met Gable on the set, he was in his old man make-up. He asked her out on a horse-riding date, but thinking he was too old for her, she turned him down. Later when she was doing some voice-overs, she saw him without make-up and regretted her decision. Gabe never asked her out again. See more »
After Charlie's last line in the film, a shadow of the boom microphone can be seen moving off the back of the wicker chair before the camera starts pulling back. See more »
How 'bout the old scout?
Oh, he seemed fine, fellow. Yes, yes, he said he was having a gay time. When I saw him he was with a startling looking female. I gather he was quite involved.
See more »
Eugene O'Neill's nine-act theatrical experiment created quite a stir in 1928, so it was inevitable that Hollywood would snap it up. The play's novelty was that the characters spoke their thoughts aloud in the manner of asides. On the stage, some of these speeches went on for quite some time while the other actors in the scene froze in place; on film they are reduced in length and pre-recorded so that while we hear the words we see the appropriate facial expressions on both the speaking and the listening actors. Nothing about these spoken thoughts expands our understanding of the thinkers in ways that good acting or deft direction couldn't have done just as well. The story, actually a saga, concerns a woman (Norma Shearer) unhinged by the death of her dashing aviator fiancé in the World War; she sets out to salvage her connection to this lost ideal man by marrying a lesser specimen, bearing his male child and naming it after the deceased. Along the way she learns from her mother-in-law (May Robson) that insanity runs in the husband's family. Convinced that this undesirable genetic trait will show up in her offspring, she aborts the child she is carrying and mates with a virile doctor friend (Clark Gable, who else?) to produce a healthy son which she then passes off as the husband's. Hard to believe? You bet. But it worked fascinatingly on the page, and perhaps even on the stage, but not on screen where it becomes just a series of mostly attractive talking heads. It is dramatically effective only in spots. Shearer is by turns compelling and strained. Clark Gable handles the material well until he encounters some overwrought plot contrivances near the end whereupon he is further hobbled by unconvincing old age makeup.
3 of 3 people found this review helpful.
Was this review helpful to you?
| Report this