Copyright 5 September 1935 by United Artists Corp. Presented by Samuel Goldwyn. New York opening at the Rivoli, 5 September 1935. U.K. release: September 1935. Australian release: 29 January 1936. 11 reels. 105 minutes.
SYNOPSIS: Kitty Vane loves Alan Trent, but he is reportedly killed in the war. Actually, he is only blinded, but not wanting to be a burden to Kitty . . .
NOTES: Academy Award, Richard Day, Art Direction (defeating Lives of a Bengal Lancer and Top Hat). Also nominated for Best Actress, Merle Oberon (defeated by Bette Davis for Dangerous), and Sound Recording (Naughty Marietta won).
Re-make of the 1925 movie directed by George Fitzmaurice, staring Ronald Colman and Vilma Banky.
COMMENT: Directed by Sidney Franklin with all the attendant technical skills and production largess at Goldwyn's command — as well as his own native genius — this is a superior weepie. Franklin keeps the narrative moving briskly until the second half where it unavoidably slows down. The scriptwriters run out of cinematic devices and rely more strongly on the dialogue and dramatic momentum of the original stage play. This retards the pace to the point where we become conscious of that familiar "photographed stage play" ennui. But the climax is strong and, fortunately, Toland's photography is always most attractive. (A pity we can't say the same for Omar Kiam's H-line costumes for Miss Oberon).
The acting of Fredric March, Merle Oberon, Herbert Marshall and the entire cast is — despite the handicaps of the script — thoroughly convincing and sympathetic. Miss Oberon deserved her Academy Award nomination. March is excellent too — and in some ways his role required greater technical expertise and skill.
OTHER VIEWS: I cannot for the life of me puzzle out how Day was even nominated, let alone emerge the winner. The sets are very ordinary and were undoubtedly inspired by the original stage settings. Toland's lighting (especially in the dug-out scene) occasionally makes the sets look attractive, but even with this impetus they cannot compare with "Lives of a Bengal Lancer". I can understand the nomination for sound recording. The track is not only crystal clear, but especially rich in its mixture of dialogue and music.
Newman deserved a nomination for scoring but didn't get one. Nor did Toland — yet he is the one who makes Oberon look so appealing, despite her unattractive costumes. As for her acting, it is forced and artificial.
After a slow start with some awful kids (Franklin's direction of all the children in the film is embarrassingly amateurish), the pace improves out of sight in some sharply edited middle sections (in which slow dissolves are cleverly and effectively employed). Lillian Hellman's contribution is plain in some of the astringent dialogue, particularly a scene in which a blinded soldier (Douglas Walton) ridicules a visiting preacher. John Halliday's scenes, alas, are few in number and are confined to the slow end section of the film.
SYNOPSIS: Kitty Vane loves Alan Trent, but he is reportedly killed in the war. Actually, he is only blinded, but not wanting to be a burden to Kitty . . .
NOTES: Academy Award, Richard Day, Art Direction (defeating Lives of a Bengal Lancer and Top Hat). Also nominated for Best Actress, Merle Oberon (defeated by Bette Davis for Dangerous), and Sound Recording (Naughty Marietta won).
Re-make of the 1925 movie directed by George Fitzmaurice, staring Ronald Colman and Vilma Banky.
COMMENT: Directed by Sidney Franklin with all the attendant technical skills and production largess at Goldwyn's command — as well as his own native genius — this is a superior weepie. Franklin keeps the narrative moving briskly until the second half where it unavoidably slows down. The scriptwriters run out of cinematic devices and rely more strongly on the dialogue and dramatic momentum of the original stage play. This retards the pace to the point where we become conscious of that familiar "photographed stage play" ennui. But the climax is strong and, fortunately, Toland's photography is always most attractive. (A pity we can't say the same for Omar Kiam's H-line costumes for Miss Oberon).
The acting of Fredric March, Merle Oberon, Herbert Marshall and the entire cast is — despite the handicaps of the script — thoroughly convincing and sympathetic. Miss Oberon deserved her Academy Award nomination. March is excellent too — and in some ways his role required greater technical expertise and skill.
OTHER VIEWS: I cannot for the life of me puzzle out how Day was even nominated, let alone emerge the winner. The sets are very ordinary and were undoubtedly inspired by the original stage settings. Toland's lighting (especially in the dug-out scene) occasionally makes the sets look attractive, but even with this impetus they cannot compare with "Lives of a Bengal Lancer". I can understand the nomination for sound recording. The track is not only crystal clear, but especially rich in its mixture of dialogue and music.
Newman deserved a nomination for scoring but didn't get one. Nor did Toland — yet he is the one who makes Oberon look so appealing, despite her unattractive costumes. As for her acting, it is forced and artificial.
After a slow start with some awful kids (Franklin's direction of all the children in the film is embarrassingly amateurish), the pace improves out of sight in some sharply edited middle sections (in which slow dissolves are cleverly and effectively employed). Lillian Hellman's contribution is plain in some of the astringent dialogue, particularly a scene in which a blinded soldier (Douglas Walton) ridicules a visiting preacher. John Halliday's scenes, alas, are few in number and are confined to the slow end section of the film.