Sometimes melodramatic but otherwise engaging adaptation of popular novel tracks the lives of a group of friends in a small town from childhood to adulthood, as they cope with life's challenges. There are good performances from Cummings as an earnest fellow who wants to become a doctor, Field as a mysterious young woman he loves, Rains as her domineering father, Reagan, in his finest role, as Cummings' best friend, and the radiant Sheridan as the former tomboy from the wrong side of the tracks who loves Reagan. Well directed by Wood, helped by the top-notch cinematography (Howe) and score (Korngold). It beautifully captures the feel of a small town around the turn of the 20th century.
82 Reviews
Very good but a bit uneven
planktonrules2 October 2009
Warning: Spoilers
KINGS ROW is a very good but uneven movie. However, the overall film is well worth seeing despite its shortcomings.
The film is set in the fictional town of KINGS ROW towards the end of the 19th century. It begins with several children and shows their adolescent dreams and friendships. Soon, the story jumps ahead a decade and you see them as young adults--noticing how they have changed for the better or worse.
Parris Mitchell (Bob Cummings) is the star of the film--especially the first half. He has grown up with a reasonably wealthy family and has a dream of going to Vienna to study with the greatest doctors in the world. However, he needs to work with a local doctor, Dr. Tower (Claude Rains) to study to have any hope of passing the entrance exams. At the same time, he's infatuated with Tower's daughter, Cassandra (Betty Field)--though they've seen little of each other since they were young. This is because, oddly, Dr. Tower took Cassandra out of school at about age 10 and has kept her as a recluse of sorts in their home. Later, Parris and Cassandra begin seeing each other secretly--with hopes of marrying.
Drake McHugh (Ronald Reagan) is a brash young man with a trust fund. He's Parris' best friend and he seems to live only to have a good time. He's not particularly serious but also a generally likable fellow. However, he's fallen for Dr. Gordon's daughter--and Gordon (Charles Coburn) absolutely refuses to allow his daughter to see him. As for Gordon, he's a a sanctimonious and judgmental old man who seems to have little regard for his patients--particularly the ones he finds morally "objectionable". With these despised patients, he often refuses to use anesthesia when operating--a way to pay them back for their wickedness! Later in the film, Doc Gordon has a chance to treat the hated Drake.
Only around the middle of the film do we get to see Randy Monaghan (Ann Sheridan), though oddly she gets top billing. While Ann Sheridan did great in the film and you couldn't help but admire her performance, she was not the star of the movie. Instead, she and Drake begin dating and after Drake suffers a horrible accident, she is his strength and support.
The movie is a very long and involved soap opera. I heard it once described as being a lot like PEYTON PLACE, though KINGS ROW seems to have less of an emphasis on sex (at least in the movie). Oddly, the first half of the movie or so is almost like a separate film. It's good, but the second half is much more exciting and emotionally charged. The first half is mostly devoted to Parris and his relationship with the Towers. The second half is more devoted to Drake, though Parris is still an important part of the film. There are many interesting plot elements I have not mentioned because getting into the plot with any more depth would spoil the film.
As for performances, although the focus was mostly on Bob Cummings, his role was relatively unexciting to watch. He was a very good man and you liked him, but his emotional range didn't need to be great. However, despite receiving third billing, Ronald Reagan really stood out in the film--even more than Sheridan's fine performance. Although initially a rather dull character, later in the film his life underwent many tragedies and Reagan displayed a very believable emotional range--much greater than you'd see in his other films. Frankly, here he is great--whereas in most of his other films he's wooden and less than appealing. It's interesting to see that when given excellent material and direction, he was a fine actor.
At the beginning of the review, I said that this was a good but uneven film. Part of this I have already alluded to--how it's like two separate films and the first one is far less compelling than the second. However, the real serious unevenness is because sometimes the director handled dramatic moments beautifully--such as the scene with Reagan in bed after his accident. This and many other moments were done with such deftness and grace that they really pull you into the film. I know I was nearly ready for a box of Kleenex at these moments! Sadly, though, there were some moments here and there that were just sappy as well. In particular, the very end was just terrible. As Reagan has his big dramatic breakthrough, you hear swells of almost angelic music and this huge burden disappears INSTANTLY!! This scene was done in about one minute--and should have been done in at least five to ten. The entire ending was rushed and sloppy. Perhaps since the movie had already gone on for over two hours they felt a need to do this. I would have been much happier had they either trimmed some off other parts of the film instead or just lengthened the film more. It was upsetting to invest this much time in the movie and just have a cheap and manipulative ending.
Overall, despite my many complaints about the unevenness, the great moments are so many and the film is such a wonderful showcase for Reagan and Sheridan that I strongly recommend it. My teenage daughter usually doesn't love these sort of films but she watched it with me. In the beginning, she was a bit critical but towards the end, I could see her interest increase tremendously. She also said the movie was good but uneven--that's a chip off the old block!
The film is set in the fictional town of KINGS ROW towards the end of the 19th century. It begins with several children and shows their adolescent dreams and friendships. Soon, the story jumps ahead a decade and you see them as young adults--noticing how they have changed for the better or worse.
Parris Mitchell (Bob Cummings) is the star of the film--especially the first half. He has grown up with a reasonably wealthy family and has a dream of going to Vienna to study with the greatest doctors in the world. However, he needs to work with a local doctor, Dr. Tower (Claude Rains) to study to have any hope of passing the entrance exams. At the same time, he's infatuated with Tower's daughter, Cassandra (Betty Field)--though they've seen little of each other since they were young. This is because, oddly, Dr. Tower took Cassandra out of school at about age 10 and has kept her as a recluse of sorts in their home. Later, Parris and Cassandra begin seeing each other secretly--with hopes of marrying.
Drake McHugh (Ronald Reagan) is a brash young man with a trust fund. He's Parris' best friend and he seems to live only to have a good time. He's not particularly serious but also a generally likable fellow. However, he's fallen for Dr. Gordon's daughter--and Gordon (Charles Coburn) absolutely refuses to allow his daughter to see him. As for Gordon, he's a a sanctimonious and judgmental old man who seems to have little regard for his patients--particularly the ones he finds morally "objectionable". With these despised patients, he often refuses to use anesthesia when operating--a way to pay them back for their wickedness! Later in the film, Doc Gordon has a chance to treat the hated Drake.
Only around the middle of the film do we get to see Randy Monaghan (Ann Sheridan), though oddly she gets top billing. While Ann Sheridan did great in the film and you couldn't help but admire her performance, she was not the star of the movie. Instead, she and Drake begin dating and after Drake suffers a horrible accident, she is his strength and support.
The movie is a very long and involved soap opera. I heard it once described as being a lot like PEYTON PLACE, though KINGS ROW seems to have less of an emphasis on sex (at least in the movie). Oddly, the first half of the movie or so is almost like a separate film. It's good, but the second half is much more exciting and emotionally charged. The first half is mostly devoted to Parris and his relationship with the Towers. The second half is more devoted to Drake, though Parris is still an important part of the film. There are many interesting plot elements I have not mentioned because getting into the plot with any more depth would spoil the film.
As for performances, although the focus was mostly on Bob Cummings, his role was relatively unexciting to watch. He was a very good man and you liked him, but his emotional range didn't need to be great. However, despite receiving third billing, Ronald Reagan really stood out in the film--even more than Sheridan's fine performance. Although initially a rather dull character, later in the film his life underwent many tragedies and Reagan displayed a very believable emotional range--much greater than you'd see in his other films. Frankly, here he is great--whereas in most of his other films he's wooden and less than appealing. It's interesting to see that when given excellent material and direction, he was a fine actor.
At the beginning of the review, I said that this was a good but uneven film. Part of this I have already alluded to--how it's like two separate films and the first one is far less compelling than the second. However, the real serious unevenness is because sometimes the director handled dramatic moments beautifully--such as the scene with Reagan in bed after his accident. This and many other moments were done with such deftness and grace that they really pull you into the film. I know I was nearly ready for a box of Kleenex at these moments! Sadly, though, there were some moments here and there that were just sappy as well. In particular, the very end was just terrible. As Reagan has his big dramatic breakthrough, you hear swells of almost angelic music and this huge burden disappears INSTANTLY!! This scene was done in about one minute--and should have been done in at least five to ten. The entire ending was rushed and sloppy. Perhaps since the movie had already gone on for over two hours they felt a need to do this. I would have been much happier had they either trimmed some off other parts of the film instead or just lengthened the film more. It was upsetting to invest this much time in the movie and just have a cheap and manipulative ending.
Overall, despite my many complaints about the unevenness, the great moments are so many and the film is such a wonderful showcase for Reagan and Sheridan that I strongly recommend it. My teenage daughter usually doesn't love these sort of films but she watched it with me. In the beginning, she was a bit critical but towards the end, I could see her interest increase tremendously. She also said the movie was good but uneven--that's a chip off the old block!
Beautiful film about the happenings in a small town
blanche-211 October 2015
Warning: Spoilers
I saw "Kings Row" years and years ago, and I just watched it again. A truly beautiful film.
But boy, did you have to read between the lines.
This is the kind of film my mother would have seen and not known any of the unspoken things that were going on. I have a feeling she wasn't alone.
The story concerns people who grew up together - Parris, Drake, Cassie, and Randy - and what happens to them. It stars Robert Cummings, Ronald Reagan, Betty Field, and Ann Sheridan.
The role of Parris was intended to be the star role and go to a big name. I wasn't around in 1942 but I know that Robert Cummings was certainly known but not one of the top leading men. In fact, the year of this film was his biggest - he did this movie and Saboteur. And Hitchcock didn't want him for Saboteur anymore than Hal Wallis wanted him for this.
The role was supposed to go Tyrone Power, who would have been an ideal Parris, but Fox wouldn't lend him out -- and I have a feeling they waited until the last minute to refuse. As far as I'm concerned, that little boy Parris looked just like Tyrone Power, and Parris is the only character to get a star entrance.
Anyway, the studio wound up borrowing Cummings from Universal and using some Warners players for the rest.
Now, lots goes on in this town that is blatantly covered in the novel but only hinted at here. The biggest thing is the incestuous relationship between the woman Parris loves, Cassie (Field) and her father (Claude Rains), who is Parris' mentor when he returns from his studies.
The only indication of this is when the constable asks Dr. Gordon who has just finished examining Cassie, if there was "anything else," to which Gordon replies, "Just something about the girl." They think the father is Drake, who claims he and Cassie were in love in order to protect Parris.
That was the biggest "unspoken" though there were a couple of others. Blink and you miss it.
I won't go into the whole story, I'll just say it was well-acted. Ronald Reagan did a terrific job. People always make fun of him, but in the films of his I've seen, he was very charming with a flair for comedy - and here, he shows dramatic chops. It's a strong role. Ann Sheridan has a slightly different role as well. She's a devoted girlfriend and then wife and not a sexy good time girl, coming off as intelligent and lively.
Robert Cummings brought a boyishness to Parris in an earnest and sincere performance. Power would have brought it up a notch, though.
Because of the casting, Kings Row does not signal that it was a huge film, which it was intended to be. It's the same as Saboteur seeming like one of HItchcock's smaller movies when it wasn't at all. He wanted Gary Cooper and Barbara Stanwyck. I'm sure no one would say it was a smaller film had he been allowed to cast them. Same here.
But boy, did you have to read between the lines.
This is the kind of film my mother would have seen and not known any of the unspoken things that were going on. I have a feeling she wasn't alone.
The story concerns people who grew up together - Parris, Drake, Cassie, and Randy - and what happens to them. It stars Robert Cummings, Ronald Reagan, Betty Field, and Ann Sheridan.
The role of Parris was intended to be the star role and go to a big name. I wasn't around in 1942 but I know that Robert Cummings was certainly known but not one of the top leading men. In fact, the year of this film was his biggest - he did this movie and Saboteur. And Hitchcock didn't want him for Saboteur anymore than Hal Wallis wanted him for this.
The role was supposed to go Tyrone Power, who would have been an ideal Parris, but Fox wouldn't lend him out -- and I have a feeling they waited until the last minute to refuse. As far as I'm concerned, that little boy Parris looked just like Tyrone Power, and Parris is the only character to get a star entrance.
Anyway, the studio wound up borrowing Cummings from Universal and using some Warners players for the rest.
Now, lots goes on in this town that is blatantly covered in the novel but only hinted at here. The biggest thing is the incestuous relationship between the woman Parris loves, Cassie (Field) and her father (Claude Rains), who is Parris' mentor when he returns from his studies.
The only indication of this is when the constable asks Dr. Gordon who has just finished examining Cassie, if there was "anything else," to which Gordon replies, "Just something about the girl." They think the father is Drake, who claims he and Cassie were in love in order to protect Parris.
That was the biggest "unspoken" though there were a couple of others. Blink and you miss it.
I won't go into the whole story, I'll just say it was well-acted. Ronald Reagan did a terrific job. People always make fun of him, but in the films of his I've seen, he was very charming with a flair for comedy - and here, he shows dramatic chops. It's a strong role. Ann Sheridan has a slightly different role as well. She's a devoted girlfriend and then wife and not a sexy good time girl, coming off as intelligent and lively.
Robert Cummings brought a boyishness to Parris in an earnest and sincere performance. Power would have brought it up a notch, though.
Because of the casting, Kings Row does not signal that it was a huge film, which it was intended to be. It's the same as Saboteur seeming like one of HItchcock's smaller movies when it wasn't at all. He wanted Gary Cooper and Barbara Stanwyck. I'm sure no one would say it was a smaller film had he been allowed to cast them. Same here.
One OF Hollywood's Finest Hours!
jpdoherty16 September 2009
Warning: Spoilers
Warner Bros. KINGS ROW (1942) is ,without doubt, one of Hollywood's most enduring and best loved cinema classics from its Golden Age! Produced by Hal Wallis it was crisply photographed by ace Cinematographer James Wong Howe in glorious black & white and contains one of the finest musical scores ever wedded to a film soundtrack. Also, like his work on "Gone With The Wind" Production Designer William Cameron Menzies brought the small town setting of KINGS ROW to vivid life and director Sam Wood ensured Menzies approach was adhered to with his stylish direction.
Based on the controversial novel by Henry Bellamann it is quiet astonishing that KINGS ROW ever went before the cameras at all! The story revolves around three children growing into adulthood in a small American mid - western town just before the turn of the 20th century and their exposure to all manner of human excesses, frailties and shortcomings. The book is peppered with a plethora of taboo subjects (especially for the forties) such as nymphomania, incest, insanity, sadism, and homosexuality. But brilliant screen writer Casey Robinson ("Now Voyager") managed, by some miracle, to skillfully skirt around these problems, defuse and avoid any elaborations and viewing the finished film it is difficult to decipher any of the character weaknesses Bellamann wrote about.
The cast is reasonably good! Top billed is the lovely Ann Sheridan as the feisty and endearing Randy Monaghan. It is her finest performance and the best film she ever did! Surprisingly the usually wooden Ronald Reagan turns in a more than passable performance as the somewhat carefree ladies man Drake McHugh. And he is most convincing in the startling scene where he awakens to discover both his legs have been amputated and screaming repeatedly "WHERE'S THE REST OF ME?" (a line the actor would use later for the title of his autobiography in 1965). The weakest link in the cast is Robert Cummings (borrowed from Universal) as the leading protagonist Parris Mitchell! His one note performance reduces the character to nothing more than an uninteresting over prim and prissy bore. Cummings retains nothing of the likable personality already established early in the picture by the delightful portrayal of child actor the ill-fated Scotty Beckett as the young Parris. Excellent too is Claude Rains as Dr. Towers and Parris' mentor, Betty Field as his deranged daughter, Charles Coburn as the sadistic doctor, the great Russian actress Maria Ouspenskaya as Parris' grandmother and her good friend Col. Skeffington played by the always likable Harry Davenport ("When she passes ...how much passes with her?....a whole way of life, a way of gentleness... of dignity and honour. These things are going and they may never come back to this world".) A prophetic observation no doubt!
One of the great strengths of KINGS ROW is the outstanding operatic music score composed and conducted by the great Viennese composer Erich Wolfgang Korngold. Korngold's genius as a motion picture composer was not limited only to scoring action spectaculars like "The Adventures Of Robin Hood (1938) and "The Sea Hawk" (1940) for he could, with no difficulty, underscore such character driven dramas as "Between Two Worlds" (1944), "Deception" (1946) and KINGS ROW with equal aplomb! Besides "The Sea Hawk" KINGS ROW is his finest achievement and of his 18 scores was his own personal favourite! His leitmotific approach to scoring could often be quite stunning and never more so than with KINGS ROW . The score is just chock-a-block with exquisite themes! Heard first under the titles is the powerful main theme. Brimming with bravura brass fanfares the music is decidedly heroic! The composer hadn't yet viewed the film when the magnificent piece was first conceived. And thinking the story concerned historical royalty because of its title imbued the theme with a distinctive monarchical flavour. However when he saw the script and learnt the film was set in small-town USA he offered to change it but Hal Wallis liked it so much he persuaded the composer to retain the piece and a blessing it is too. Heard in different guises throughout the picture it is particularly engaging as a scherzo variation near the film's opening as the young Parris Mitchell and Cassandra Towers skip home by the river after school. Other superb cues are the poignant theme for the grandmother, the melancholy music for Cassie's ill attended birthday party, the frolicsome variation of the main theme for the children playing on the rings in Elroy's Icehouse, the ravishing theme for Randy and the Finale music - a reiteration of the main theme - which bursts forth upon us near the end but this time with a mixed chorus intoning a line from W. E. Henley's poem "Invictus" - I AM THE MASTER OF MY FATE - I AM THE CAPTAIN OF MY SOUL. A marvellous soulful and uplifting finish to a marvellous film!
KINGS ROW - a work of cinematic art!
"Now...if you turn your face to that wall!"
An interesting footnote:
It is notable that Korngold's main theme from KINGS ROW was used for both of Ronald Reagan's inaugurations!
Based on the controversial novel by Henry Bellamann it is quiet astonishing that KINGS ROW ever went before the cameras at all! The story revolves around three children growing into adulthood in a small American mid - western town just before the turn of the 20th century and their exposure to all manner of human excesses, frailties and shortcomings. The book is peppered with a plethora of taboo subjects (especially for the forties) such as nymphomania, incest, insanity, sadism, and homosexuality. But brilliant screen writer Casey Robinson ("Now Voyager") managed, by some miracle, to skillfully skirt around these problems, defuse and avoid any elaborations and viewing the finished film it is difficult to decipher any of the character weaknesses Bellamann wrote about.
The cast is reasonably good! Top billed is the lovely Ann Sheridan as the feisty and endearing Randy Monaghan. It is her finest performance and the best film she ever did! Surprisingly the usually wooden Ronald Reagan turns in a more than passable performance as the somewhat carefree ladies man Drake McHugh. And he is most convincing in the startling scene where he awakens to discover both his legs have been amputated and screaming repeatedly "WHERE'S THE REST OF ME?" (a line the actor would use later for the title of his autobiography in 1965). The weakest link in the cast is Robert Cummings (borrowed from Universal) as the leading protagonist Parris Mitchell! His one note performance reduces the character to nothing more than an uninteresting over prim and prissy bore. Cummings retains nothing of the likable personality already established early in the picture by the delightful portrayal of child actor the ill-fated Scotty Beckett as the young Parris. Excellent too is Claude Rains as Dr. Towers and Parris' mentor, Betty Field as his deranged daughter, Charles Coburn as the sadistic doctor, the great Russian actress Maria Ouspenskaya as Parris' grandmother and her good friend Col. Skeffington played by the always likable Harry Davenport ("When she passes ...how much passes with her?....a whole way of life, a way of gentleness... of dignity and honour. These things are going and they may never come back to this world".) A prophetic observation no doubt!
One of the great strengths of KINGS ROW is the outstanding operatic music score composed and conducted by the great Viennese composer Erich Wolfgang Korngold. Korngold's genius as a motion picture composer was not limited only to scoring action spectaculars like "The Adventures Of Robin Hood (1938) and "The Sea Hawk" (1940) for he could, with no difficulty, underscore such character driven dramas as "Between Two Worlds" (1944), "Deception" (1946) and KINGS ROW with equal aplomb! Besides "The Sea Hawk" KINGS ROW is his finest achievement and of his 18 scores was his own personal favourite! His leitmotific approach to scoring could often be quite stunning and never more so than with KINGS ROW . The score is just chock-a-block with exquisite themes! Heard first under the titles is the powerful main theme. Brimming with bravura brass fanfares the music is decidedly heroic! The composer hadn't yet viewed the film when the magnificent piece was first conceived. And thinking the story concerned historical royalty because of its title imbued the theme with a distinctive monarchical flavour. However when he saw the script and learnt the film was set in small-town USA he offered to change it but Hal Wallis liked it so much he persuaded the composer to retain the piece and a blessing it is too. Heard in different guises throughout the picture it is particularly engaging as a scherzo variation near the film's opening as the young Parris Mitchell and Cassandra Towers skip home by the river after school. Other superb cues are the poignant theme for the grandmother, the melancholy music for Cassie's ill attended birthday party, the frolicsome variation of the main theme for the children playing on the rings in Elroy's Icehouse, the ravishing theme for Randy and the Finale music - a reiteration of the main theme - which bursts forth upon us near the end but this time with a mixed chorus intoning a line from W. E. Henley's poem "Invictus" - I AM THE MASTER OF MY FATE - I AM THE CAPTAIN OF MY SOUL. A marvellous soulful and uplifting finish to a marvellous film!
KINGS ROW - a work of cinematic art!
"Now...if you turn your face to that wall!"
An interesting footnote:
It is notable that Korngold's main theme from KINGS ROW was used for both of Ronald Reagan's inaugurations!
Kings Row- A Welcomed Addition to Any Neighborhood ****
edwagreen25 August 2007
The absolute best picture that Ronald Reagan ever made. Why wasn't he given better film roles after his impressive performance as Drake McHugh? Ditto for Bob Cummings. So sad to realize seeing both of them in the scenes of this picture, young and charming. Unfortunately, both fell victim to Alzheimer's Disease.
The picture is first rate. 1942 seemed to be a big year that Hollywood spoke about mental illness. Claude Rains also starred in "Now, Voyager" that dealt with Bette Davis's breakdown following a regimented life with a tormenting mother.
"Kings Row" deals with schizophrenia. Betty Field did an outstanding job as the doomed Cassie.
The film also deals with a sadistic surgeon played by Charles Coburn, in a terrific brief dramatic performance. As his wife, Judith Anderson was at her usual eerie self.
There are so many themes in this film. We see the class differences among Drake, Dr. Mitchell (Cummings) and in a terrific performance, Ann Sheridan as a girl from the wrong side of the tracks that shows her devotion to Drake when he has a series of unbelievable misfortunes befall him.
Drake's line "Where's the rest of me," when he awakes to find that his legs have been amputated is unforgettable.
"Kings Row" was nominated for best picture in 1942. It would take a classic such as "Mrs. Miniver" to have beaten it out.
The picture is first rate. 1942 seemed to be a big year that Hollywood spoke about mental illness. Claude Rains also starred in "Now, Voyager" that dealt with Bette Davis's breakdown following a regimented life with a tormenting mother.
"Kings Row" deals with schizophrenia. Betty Field did an outstanding job as the doomed Cassie.
The film also deals with a sadistic surgeon played by Charles Coburn, in a terrific brief dramatic performance. As his wife, Judith Anderson was at her usual eerie self.
There are so many themes in this film. We see the class differences among Drake, Dr. Mitchell (Cummings) and in a terrific performance, Ann Sheridan as a girl from the wrong side of the tracks that shows her devotion to Drake when he has a series of unbelievable misfortunes befall him.
Drake's line "Where's the rest of me," when he awakes to find that his legs have been amputated is unforgettable.
"Kings Row" was nominated for best picture in 1942. It would take a classic such as "Mrs. Miniver" to have beaten it out.
The Unbearable Complexity of Being
Tipu28 July 1999
I have never been to America, but this movie seems so familiar. It reminds me so much of the apartment building I grew up in Calcutta. Maybe because people everywhere are essentially the same, or maybe because every character in this movie is a carefully thought out archetype. The Good Grandson who is the apostle of virtue, the Sacrificing Best Friend, the Spunky Girl, the men who live on the wrong side of the tracks but are still nobler than the rich old townspeople, the Old Man with Something to Hide, the Evil Man with an Honorable Facade, etc. In fact just the crowd u'd meet anywhere u live. That's what, I feel, gives this movie its timelessness. Add to it James Wong Howe's lustrous b&w photography like an old family photo polished everyday by the doting old maid, the assured editing that pieces together scenes straddling across time [Parris, the good little boy to Parris the good young man] & space [Americana to Vienna, like the new year msg in Parris' letter from Vienna dissolving into another msg scratched out on the snow in King's Row], Sam Wood's confident direction [he had done 'Our Town' too] & brilliant all round acting. Reagan blew my mind & so did Anne Sheridan. Wish Robert Cummings was less wimpy, but you can't take it all, can you?
A great movie, see it!
A great movie, see it!
Noteworthy but Flawed
lewis-5112 September 2010
Many people have already written reviews of this notable film, so I'll skip the plot summary. Most of the reviews are extremely positive. I'm afraid I can't be as laudatory, though I did enjoy the movie and it prompted me to write this.
There are some really fine acting performances. Unlike some, I like Robert Cummings. Yes, he is a bit "one note" as someone wrote, but I think that makes sense. Cummings has accurately portrayed a believable personality. Yes, I agree that Ronald Reagan was excellent. He almost becomes the lead role, and that's part of the problem with this movie. Ann Sheridan I would just say was good, not excellent. She does not deserve to have top billing in this movie. Maybe she was the best known star of the three main actors at that time, and she was given top billing for that reason. Betty Field as Cassandra was good, but overacted a bit in a difficult role. Claude Rains was excellent, as usual.
Two other actors deserve mention, even though they had lesser roles. I thought that the actress who played Louise (Nancy Coleman) was very convincing. And I thought the performance of Henry Davenport as Skeffington was remarkable. He really seemed to be a completely authentic lawyer from the 1890s. It's hard to believe that that was someone acting.
The basic situation and plot were intriguing. Sounds like the novel would be a good read. But the movie disappoints in several ways.
First, it is disjointed. Too many scenes happen quickly or end abruptly. For example, there is a scene about half way through where Parris and Duke are reading a journal of Dr. Tower, soon after someone important dies (don't want to get too specific here). Suddenly Parris says, "but I'm tired." Duke immediately jumps up and says "I'll get the light." He blows it out and they leave. That's just unreal. It's too abrupt. It's jarring. This sort of thing happens again and again.
Second, a major love interest of one of the main characters is introduced with only about 20 minutes to go. That is very awkward and off-putting. A veritable Deus ex machina.
Third, the movie builds up a major romance and conflict between Parris and Cassandra, only to have it suddenly resolved barely half way into the movie (again, don't want to get too specific). Really, the movie should have ended there. It's as if it were really two movies, parts I and II. It would have been better as two.
Fourth, the character of Randy, played by Ann Sheridan, is very briefly in the beginning of the movie as a child, then abruptly (there's that word again) reappears about half way through the movie and becomes a major character.
Fifth, comparatively minor but still jarring, the actresses playing Cassandra (Field) and Randy (Sheridan) looked amazingly alike. Maybe it would not have been so in color, but in black and white, I was astonished when Sheridan abruptly appeared in the middle of the movie and seemed to be Cassandra! Was this planned by the director?
So I appreciate the basic story. It's very creative. I appreciate the fine acting. But with so many flaws, I can rate it no higher than 7.
There are some really fine acting performances. Unlike some, I like Robert Cummings. Yes, he is a bit "one note" as someone wrote, but I think that makes sense. Cummings has accurately portrayed a believable personality. Yes, I agree that Ronald Reagan was excellent. He almost becomes the lead role, and that's part of the problem with this movie. Ann Sheridan I would just say was good, not excellent. She does not deserve to have top billing in this movie. Maybe she was the best known star of the three main actors at that time, and she was given top billing for that reason. Betty Field as Cassandra was good, but overacted a bit in a difficult role. Claude Rains was excellent, as usual.
Two other actors deserve mention, even though they had lesser roles. I thought that the actress who played Louise (Nancy Coleman) was very convincing. And I thought the performance of Henry Davenport as Skeffington was remarkable. He really seemed to be a completely authentic lawyer from the 1890s. It's hard to believe that that was someone acting.
The basic situation and plot were intriguing. Sounds like the novel would be a good read. But the movie disappoints in several ways.
First, it is disjointed. Too many scenes happen quickly or end abruptly. For example, there is a scene about half way through where Parris and Duke are reading a journal of Dr. Tower, soon after someone important dies (don't want to get too specific here). Suddenly Parris says, "but I'm tired." Duke immediately jumps up and says "I'll get the light." He blows it out and they leave. That's just unreal. It's too abrupt. It's jarring. This sort of thing happens again and again.
Second, a major love interest of one of the main characters is introduced with only about 20 minutes to go. That is very awkward and off-putting. A veritable Deus ex machina.
Third, the movie builds up a major romance and conflict between Parris and Cassandra, only to have it suddenly resolved barely half way into the movie (again, don't want to get too specific). Really, the movie should have ended there. It's as if it were really two movies, parts I and II. It would have been better as two.
Fourth, the character of Randy, played by Ann Sheridan, is very briefly in the beginning of the movie as a child, then abruptly (there's that word again) reappears about half way through the movie and becomes a major character.
Fifth, comparatively minor but still jarring, the actresses playing Cassandra (Field) and Randy (Sheridan) looked amazingly alike. Maybe it would not have been so in color, but in black and white, I was astonished when Sheridan abruptly appeared in the middle of the movie and seemed to be Cassandra! Was this planned by the director?
So I appreciate the basic story. It's very creative. I appreciate the fine acting. But with so many flaws, I can rate it no higher than 7.
- henry
You'll Like Our Town...........Maybe
bkoganbing4 June 2009
Besides providing Ronald Reagan with his career role and the title of his pre-presidential autobiography, Kings Row is a finely crafted piece of film making by director Sam Wood. The film got Oscar nominations for Best Picture, Best Director and Best black and white Cinematography for James Wong Howe.
Incredibly though, the rich musical score that Erich Wolfgang Korngold did was overlooked by the Academy. That's the thing you will take away from watching the film, even more so than Ronald Reagan's anguished cry of 'where's the rest of me'.
The story takes place at the turn of the last century with an interlude of ten years from 1890 to 1900 where we see the leads as children first and then as adults. Despite Ronald Reagan getting all the notice here, he's actually third billed in the cast. Above him are Ann Sheridan and Robert Cummings and it's really the Cummings character whom the film is centered around.
King's Row is the town these folks inhabit, purportedly based on Fulton Missouri, the hometown of author Henry Bellamann. This may be set in Missouri, but don't expect no Tom Sawyer like story. If in fact the novel is based on Bellamann's experiences growing up, he must have had one Gothic childhood.
Sam Wood assembled an incredible cast of supporting players, like Claude Rains, Judith Anderson, Charles Coburn, Harry Davenport, Minor Watson, Nancy Coleman, and Kaaren Verne. Coburn and Anderson are the parents of Coleman and they don't like the fact she's keeping company with Reagan who's playing the entire Kings Row field. In addition Coburn is a doctor who is also a sadist, he does things like perform operations without use of anesthetic. I'm sure he had heard of Dr. Morton and his successful use of ether by this time.
The best in the cast though is Claude Rains, something he usually was in a lot of films. He's another doctor, totally different from Coburn. He's a famous medical practitioner who has chosen to hide himself away in this small and obscure town. He's got a wife who never comes out and a daughter who grows up to be Betty Field who is suddenly and abruptly taken out of school as a child. It's with him who Robert Cummings studies medicine with to pass the examination and go to school in Europe to become a doctor.
Rains's tragic story is what sets in motion the rest of the story that climaxes with Reagan's anguished cry. Rains creates such a mysterious and sad air about him that you think about him more than anyone else in the movie.
Kings Row begs comparison to Our Town which is partly set in the generation where the Cummings, Field, Reagan, and Sheridan characters all grow up. Grover's Corners has its share of tragedies as well as happy times.
Kings Row and Our Town should be run back to back in order to see what I'm referring to. It's not a bad double bill, in fact quite a literate one.
Incredibly though, the rich musical score that Erich Wolfgang Korngold did was overlooked by the Academy. That's the thing you will take away from watching the film, even more so than Ronald Reagan's anguished cry of 'where's the rest of me'.
The story takes place at the turn of the last century with an interlude of ten years from 1890 to 1900 where we see the leads as children first and then as adults. Despite Ronald Reagan getting all the notice here, he's actually third billed in the cast. Above him are Ann Sheridan and Robert Cummings and it's really the Cummings character whom the film is centered around.
King's Row is the town these folks inhabit, purportedly based on Fulton Missouri, the hometown of author Henry Bellamann. This may be set in Missouri, but don't expect no Tom Sawyer like story. If in fact the novel is based on Bellamann's experiences growing up, he must have had one Gothic childhood.
Sam Wood assembled an incredible cast of supporting players, like Claude Rains, Judith Anderson, Charles Coburn, Harry Davenport, Minor Watson, Nancy Coleman, and Kaaren Verne. Coburn and Anderson are the parents of Coleman and they don't like the fact she's keeping company with Reagan who's playing the entire Kings Row field. In addition Coburn is a doctor who is also a sadist, he does things like perform operations without use of anesthetic. I'm sure he had heard of Dr. Morton and his successful use of ether by this time.
The best in the cast though is Claude Rains, something he usually was in a lot of films. He's another doctor, totally different from Coburn. He's a famous medical practitioner who has chosen to hide himself away in this small and obscure town. He's got a wife who never comes out and a daughter who grows up to be Betty Field who is suddenly and abruptly taken out of school as a child. It's with him who Robert Cummings studies medicine with to pass the examination and go to school in Europe to become a doctor.
Rains's tragic story is what sets in motion the rest of the story that climaxes with Reagan's anguished cry. Rains creates such a mysterious and sad air about him that you think about him more than anyone else in the movie.
Kings Row begs comparison to Our Town which is partly set in the generation where the Cummings, Field, Reagan, and Sheridan characters all grow up. Grover's Corners has its share of tragedies as well as happy times.
Kings Row and Our Town should be run back to back in order to see what I'm referring to. It's not a bad double bill, in fact quite a literate one.
Lurid Soap Opera Might Give You a Chuckle Here and There for How Ridiculous It Gets
evanston_dad24 April 2017
Warning: Spoilers
This handsome-looking soaper from Warner Bros. Is the 1940s version of "Peyton Place."
In the strait-laced world of early 40s Hollywood movies, some of the material in this film had to have ladies reaching for their smelling salts. Mental illness, premarital sex, a murder suicide, and, most satisfyingly lurid of all the plot lines, a doctor who performs unnecessary operations on patients as a way to punish them for their moral transgressions. Robert Cummings is boring as they come, an unfortunate quality given that he's the film's principle character and the one with whom we spend the most time. The standout, surprisingly enough, is Ronald Reagan, never known for being much of an actor, but who injects the film with the much-needed pizazz that Cummings can't muster. The actors I wanted the most of, Claude Rains and Charles Coburn, as two small-town nutjobs, are sadly given little screen time.
Warner Bros. Clearly spent some money on the film's production values, with production design by William Cameron Menzies, Oscar- nominated cinematography by James Wong Howe, and an oppressively nonstop score by Erich Wolfgang Korngold that set my teeth on edge and left me craving a moment of silence. In addition to its nod for James Wong Howe, the film garnered Oscar nominations for Best Picture of the year and Best Director for Sam Wood, who managed to nab three directing nominations in four years despite having no discernible style.
Grade: B.
In the strait-laced world of early 40s Hollywood movies, some of the material in this film had to have ladies reaching for their smelling salts. Mental illness, premarital sex, a murder suicide, and, most satisfyingly lurid of all the plot lines, a doctor who performs unnecessary operations on patients as a way to punish them for their moral transgressions. Robert Cummings is boring as they come, an unfortunate quality given that he's the film's principle character and the one with whom we spend the most time. The standout, surprisingly enough, is Ronald Reagan, never known for being much of an actor, but who injects the film with the much-needed pizazz that Cummings can't muster. The actors I wanted the most of, Claude Rains and Charles Coburn, as two small-town nutjobs, are sadly given little screen time.
Warner Bros. Clearly spent some money on the film's production values, with production design by William Cameron Menzies, Oscar- nominated cinematography by James Wong Howe, and an oppressively nonstop score by Erich Wolfgang Korngold that set my teeth on edge and left me craving a moment of silence. In addition to its nod for James Wong Howe, the film garnered Oscar nominations for Best Picture of the year and Best Director for Sam Wood, who managed to nab three directing nominations in four years despite having no discernible style.
Grade: B.
Where's The Rest of Me?
krorie6 April 2006
For those who made fun of President Reagan's movie career by always citing "Bedtime for Bonzo" and laughing may be surprised if they take the time to watch "Kings Row." Even "Bedtime for Bonzo" is not as bad as those who have never seen it think it is, because of the ridiculous title. The former sports announcer plays Drake McHugh as well or better than any other Hollywood actor of the period could have. He stands tall among an extremely talented group of actors, including several others who have also been underrated and never received their due by the Hollywood establishment, especially Bob Cummings and Ann Sheridan. There's also Judith Anderson of "Rebecca" fame; Claude Rains who first made a name for himself in a part were he was invisible through most of the film; Charles Coburn, the grand old man of 40's cinema, playing against type in "Kings Row" as not such a grand old man; Maria Ouspenskaya in a non-horror role; and Betty Field shines as the tortured soul, Cassie.
Sam Wood's magnificent direction plus the acting keep the story from slipping into soap opera melodrama. True heart-rending sentiment rather than sappy sentimentality emerges from the social and economic conflicts that mix with human kindness and cruelty in small-town America at the turn of the last century. Though there is an element of nostalgia for a vanishing America, it never becomes petty or commonplace.
Sam Wood's magnificent direction plus the acting keep the story from slipping into soap opera melodrama. True heart-rending sentiment rather than sappy sentimentality emerges from the social and economic conflicts that mix with human kindness and cruelty in small-town America at the turn of the last century. Though there is an element of nostalgia for a vanishing America, it never becomes petty or commonplace.
Kings Row had some major problems
david-254122 July 2007
Warning: Spoilers
I perform classic movie scores as a concert pianist, so I am very appreciative of E.W. Korngold, one of The Great Three from the Golden Era (along with M. Steiner and A. Newman). Korngold was especially good at marches, though he takes his Kings Row theme and stretches it into many non-march tempos. Especially enjoyable is the super-fast version at at the early pond scene. It took me a few listens to realize that it was the main theme sped up to imitate child's play. However, his two major inner themes--one heard in Cassie's birthday scene where Paris enters the Tower house and the other used in the Letters Across the Ocean segment. I now hear "the Viennese" in the harmonic violins used in the Vienna scenes. Korngold was a musical genius and use of kettle drums, trumpets, french horns and especially harp and violins as heard on the CD of the score issued in 1980 shows this clearly. His other great score is the one he used in the 1937 epic The Prince And The Pauper.
Much has been written here about Korngold's opening stanza during the credits. This is true!! Those beautifully-built chords on top of other chords that don't seem to be related is a work of art! And he did the Opening Theme (during the credits) in the key of B, one of the most difficult keys to play in.
I agree in part with many posters here regarding the casting of Cummings. Yet those who would have preferred Tyrone to Cummings in the lead role would have been disappointed. It is not without irony that both Tyrone and Cummings were not "macho" men or "macho actors". They didn't exude "manliness" in ANY of their films, although Cummings tried to as the hero in The Black Book (aka The Reign Of Terror). IMHO, I very much doubt that Tyrone would have given anything "macho" to the role of Paris. It is true that the majority of our boys were in the services and off at war. Scotty Beckett is superb as Paris, the Boy. To be honest, I don't know "who" could have played him as an adult better than the sensitive liberal Cummings. The embarrassingly melodramatic "Evictus" recitation in the last scene with Reagan and Sheridan could have been removed, but it still works in this film and although it was way over Reagan's character's head intellectually, the last part "...bloodied, but unbowed" fits perfectly.
However, I disagree adamantly with those posters who say that Betty Field did a poor job as Cassie. I've seem the film 50 times, and each time I'm impressed by her acting. She had a much less meaty role in Bus Stop in 1960. Compare her role as Cassie to her role the year before in The Shepherd of the Hills, where she was terrific, too. Her two best roles, IMHO. But in this one, Kings Row, no one could play a "crazy" like her except perhaps Olivia deHavilland.
Raines was used to playing evil men, but comedic actor Charles Coburn? He is in his most evil in this film and proved to all fans that he could play a bloodthirsty evil man just as well as a comedic one. Harry Davenport is excellent though he doesn't seem to "age" in the film which spans at least 20 years. Nancy Coleman is excellent. I think it's one of the few films where two principal characters (Field and Coleman) are "nutso"--other than the nut house films like "Snake Pit". Raines was great in three other Warner Brothers films at that time--Mr. Skeffington, Now Voyager and of course, Casablanca. Although he is an evil, sick man in this one, he is perfect in the role.
There was no incest in the film. I thank a poster who read the book for telling us that there is incest between Raines' character and Cassie. That is revealing. But, censors are censors!
I completely disagree with those who state that it was a wonderfully produced and directed film. There are bad cuts and places where dialog seems out of place as the scene changes. I however watch the colorized version (which was done in 1989 and requires that my TV have the color turned up nearly all the way) and it is far more enjoyable than the b&w original. The typical cheap Warner sets (the train scenes) brought the film down a notch, but then even MGM used such cheap sets in great '42 films like Random Harvest.
No one has mentioned how the boy characters look very much as though they would grow up looking like Cummings and Reagan. It was superb casting.
I disagree with those posters who say that it was Ann Sheridan's best role. Her best was in They Drive By Night. Screenwriter Casey Robinson went way out on a limb in writing flowery, far too long dialog for Sheridan's Randy in this one. However, she IS believable as an Irish American in the film.
I wonder what happens in the book...Does the Bank president who absconded with Drake McHugh'sand others' dough get caught and brought back to the U.S.? One other thing about the production. Granted, it was during WWII and costs were trimmed in many films, but the phony train sets/backdrops really looked "cheesy". Also, the going from inside the WB studio set for some of the outdoor scenes to actual outdoor scenes left a lot to be desired.
Much has been written here about Korngold's opening stanza during the credits. This is true!! Those beautifully-built chords on top of other chords that don't seem to be related is a work of art! And he did the Opening Theme (during the credits) in the key of B, one of the most difficult keys to play in.
I agree in part with many posters here regarding the casting of Cummings. Yet those who would have preferred Tyrone to Cummings in the lead role would have been disappointed. It is not without irony that both Tyrone and Cummings were not "macho" men or "macho actors". They didn't exude "manliness" in ANY of their films, although Cummings tried to as the hero in The Black Book (aka The Reign Of Terror). IMHO, I very much doubt that Tyrone would have given anything "macho" to the role of Paris. It is true that the majority of our boys were in the services and off at war. Scotty Beckett is superb as Paris, the Boy. To be honest, I don't know "who" could have played him as an adult better than the sensitive liberal Cummings. The embarrassingly melodramatic "Evictus" recitation in the last scene with Reagan and Sheridan could have been removed, but it still works in this film and although it was way over Reagan's character's head intellectually, the last part "...bloodied, but unbowed" fits perfectly.
However, I disagree adamantly with those posters who say that Betty Field did a poor job as Cassie. I've seem the film 50 times, and each time I'm impressed by her acting. She had a much less meaty role in Bus Stop in 1960. Compare her role as Cassie to her role the year before in The Shepherd of the Hills, where she was terrific, too. Her two best roles, IMHO. But in this one, Kings Row, no one could play a "crazy" like her except perhaps Olivia deHavilland.
Raines was used to playing evil men, but comedic actor Charles Coburn? He is in his most evil in this film and proved to all fans that he could play a bloodthirsty evil man just as well as a comedic one. Harry Davenport is excellent though he doesn't seem to "age" in the film which spans at least 20 years. Nancy Coleman is excellent. I think it's one of the few films where two principal characters (Field and Coleman) are "nutso"--other than the nut house films like "Snake Pit". Raines was great in three other Warner Brothers films at that time--Mr. Skeffington, Now Voyager and of course, Casablanca. Although he is an evil, sick man in this one, he is perfect in the role.
There was no incest in the film. I thank a poster who read the book for telling us that there is incest between Raines' character and Cassie. That is revealing. But, censors are censors!
I completely disagree with those who state that it was a wonderfully produced and directed film. There are bad cuts and places where dialog seems out of place as the scene changes. I however watch the colorized version (which was done in 1989 and requires that my TV have the color turned up nearly all the way) and it is far more enjoyable than the b&w original. The typical cheap Warner sets (the train scenes) brought the film down a notch, but then even MGM used such cheap sets in great '42 films like Random Harvest.
No one has mentioned how the boy characters look very much as though they would grow up looking like Cummings and Reagan. It was superb casting.
I disagree with those posters who say that it was Ann Sheridan's best role. Her best was in They Drive By Night. Screenwriter Casey Robinson went way out on a limb in writing flowery, far too long dialog for Sheridan's Randy in this one. However, she IS believable as an Irish American in the film.
I wonder what happens in the book...Does the Bank president who absconded with Drake McHugh'sand others' dough get caught and brought back to the U.S.? One other thing about the production. Granted, it was during WWII and costs were trimmed in many films, but the phony train sets/backdrops really looked "cheesy". Also, the going from inside the WB studio set for some of the outdoor scenes to actual outdoor scenes left a lot to be desired.
Before Peyton Place...
tomsview8 May 2018
Set at the turn of the 20th Century, Henry Bellamann's novel seemed to embrace the whole town of Kings Row.
Many characters received a page or two then faded into the background. It also contained Bellamann's worldview with insights into just about every aspect of the human condition from birth to death with liberal doses of incest, lust, racism, fraud and bigotry along the way. Kings Row was a busy place.
Some things just couldn't be included in a 1940's movie. Screenwriter Casey Robinson masterfully eliminated buggy loads of peripheral characters while retaining the central story and much of the novel's unique wisdom, although the ending was changed.
This film is a super-charged emotional experience as it follows the three main characters, Parris Mitchell, Drake McHugh and Randy Monaghan from childhood to often-painful adulthood.
The breathless enthusiasm of Robert Cummings' Parris takes some getting used to, but it is Ronald Reagan as Drake who burns himself into the memory with his cry of "Where's the rest of me?" Ann Sheridan glows in her role as Randy, the girl from the other side of the tracks who has more class and substance than most from the snootier end of town.
The supporting cast adds much to "Kings Row" especially Claude Raines and Betty Field as the troubled Dr. Tower and his daughter Cassandra. Charles Coburn plays Dr. Henry Gordon, creating the most sadistic M.D. this side of a horror movie.
Inspired script, direction and photography are topped off with Erich Wolfgang Korngold's sweeping score. His music communicates the unspoken thoughts of the characters and helped create many lump-in-the-throat moments. Remove his music and "Kings Row" wouldn't be the same.
The emotional level may be off the Richter scale, but there is a seductive magic to this old movie. It defies you to remain unmoved.
Some things just couldn't be included in a 1940's movie. Screenwriter Casey Robinson masterfully eliminated buggy loads of peripheral characters while retaining the central story and much of the novel's unique wisdom, although the ending was changed.
This film is a super-charged emotional experience as it follows the three main characters, Parris Mitchell, Drake McHugh and Randy Monaghan from childhood to often-painful adulthood.
The breathless enthusiasm of Robert Cummings' Parris takes some getting used to, but it is Ronald Reagan as Drake who burns himself into the memory with his cry of "Where's the rest of me?" Ann Sheridan glows in her role as Randy, the girl from the other side of the tracks who has more class and substance than most from the snootier end of town.
The supporting cast adds much to "Kings Row" especially Claude Raines and Betty Field as the troubled Dr. Tower and his daughter Cassandra. Charles Coburn plays Dr. Henry Gordon, creating the most sadistic M.D. this side of a horror movie.
Inspired script, direction and photography are topped off with Erich Wolfgang Korngold's sweeping score. His music communicates the unspoken thoughts of the characters and helped create many lump-in-the-throat moments. Remove his music and "Kings Row" wouldn't be the same.
The emotional level may be off the Richter scale, but there is a seductive magic to this old movie. It defies you to remain unmoved.
Small Town Life.
AaronCapenBanner5 November 2013
Sam Wood directed this turn-of-the-century drama that stars Ronald Reagan as Drake McHugh, an amiable young man who plans on becoming a businessman as soon as he comes into his full inheritance; in the meantime, he is also a ladies man...Robert Cummings plays Parris Mitchell, who plans on becoming a doctor, though is in love with Cassandra Tower(played by Betty Field) who lives with her reclusive father(played by Claude Rains) whose fates will be tragic... Ann Sheridan plays their mutual friend Randy Monaghan, who is in love with Drake, and will be invaluable to him when tragedy strikes... Fine acting and interesting plot in this memorable film, based on a successful novel.
Features the famous "Where's The Rest Of Me!?" scene with Ronald Reagan, the future 40th U.S. President.
Features the famous "Where's The Rest Of Me!?" scene with Ronald Reagan, the future 40th U.S. President.
Did I see the same Kings Row that everyone else here saw?
ftm68_9913 May 2007
I guess I should preface whatever remarks I'm going to make with the admission that I did not watch the whole movie. I got as far as maybe the first ten minutes after Ann Sheridan's appearance. I didn't finish it because I just didn't have the patience for it; didn't have the patience for the musical score, beautiful as it was, because I found it intrusive in so many scenes; didn't have the patience for Robt. Cumming's wide-eyed, little-boy line delivery; didn't have the patience for the stereotypical ladies' maid breaking down in tears at the death of her mistress; nor for the histrionic performance of Betty Field. Less is more, Betty, a lesson she learned and put to use more than effectively fourteen years later in "Bus Stop." What else didn't have the patience for? How about for the stilted dialog and the stilted way the performers would respond to each other, as if they were thinking, "Okay, my line's next; I'll deliver it now," rather than making it seem as if they were really listening to one another. In fact, The only character I really believed in was Claude Rains's (sp?) Dr. Tower. Sorry, guess I'm a crank, but I found the whole thing overwrought and amateurish.
A doctor's tragedy and education
clanciai10 February 2022
This film is crowded with assets. It starts with children playing in the perfect idylls of a small town, and you start wondering if this might be a children's movie. Then they grow up, and things happen. Two of the girls are unlucky, while the third, the poorest one, almost makes the film by her charm, intelligence and courage: Ann Sheridan, always giving enjoyable performances. Robert Cummings is the one who grows up to be a doctor under the guidance of Claude Rains, who actually is the most interesting character in the story: making a horrible insertion based on a nightmare diagnosis that no doctor ever wishes to face. Ronald Reagan makes the best performance of his life and actually outshines Robert Cummings, they are best friends since childhood here, they are both young and bright in the beginning of their careers, which both tragically ended in Alzheimer. There is a lot of medical ethics here, there are several doctors involved, faced with the conundrum of doing right or wrong. One reluctantly feels the necessity to do wrong in order to avoid something worse, while the other deliberately does very wrong indeed and has to pay for it. Judith Anderson's part is small but extremely poignant in her anguish, refusing to admit or realize that her husband the doctor did wrong, and thus worsening his wrongs by sacrificing their daughter - this is the most arguable part of the plot. It's a great film and human panorama, almost like a novel by A. J. Cronin, while it is all gilded and adorned by a magnificent score by Erich Wolfgang Korngold.
Classic, with Reagan's Question, "Where's the Rest of Me?"
cariart22 February 2004
Warning: Spoilers
KING'S ROW, based on Henry Bellamann's huge, "unfilmable" novel, served as a showcase for many of Warner Brothers' rising stars of 1942, and has achieved 'classic' status over the years. It provided Ronald Reagan with his finest performance (he even entitled a pre-Presidential autobiography "Where's the Rest of Me?", from his most famous line of dialog from the film), moved Ann Sheridan to the "A-List" of WB stars, and offered one of the most memorable musical themes in film history, by composer Erich Wolfgang Korngold.
The story of a group of children growing up in a small community prior to the turn of the century, and the adults they would become, screenwriter Casey Robinson infuses the youngsters' escapades with an innocence that makes their actions (performing acrobatics in their underwear in a freight car, a nude 'dip' in a local pond) seem sweet, not naughty. The 'leader' of the children, Drake McHugh (Douglas Croft/Ronald Reagan) is a rich, likable rogue, popular with girls, but most devoted to his best friend, serious Parris Mitchell (Scotty Beckett/Robert Cummings), a gifted piano student living with his grandmother (the remarkable Maria Ouspenskaya), who dreams of someday becoming a doctor. The girls in their lives are Randy Monaghan (Ann Todd/Ann Sheridan), a good-hearted girl from the 'wrong side of the tracks'; Louise Gordon (Joan Duvalle/Nancy Coleman), boy-crazy, and the most popular girl in town; and mysterious Cassandra 'Cassie' Tower (Mary Thomas/Betty Field), who Parris secretly adores, the daughter of the reclusive Dr. Tower (Claude Rains). After a disastrous party that only Parris and a few 'undesirables' attend (everyone else opts for a party at Louise's home), the heartbroken Cassie is yanked from school and isolated, under suspicious circumstances, by Dr. Tower. Parris grows to adulthood, still carrying a torch for his 'lost love'.
With the children 'grown up', the major story lines begin. Parris studies medicine with Dr. Tower, prior to college in Vienna, and meets Cassie again; despite her bizarre behavior and paranoia, the pair renew their chaste affair, which ends in tragedy and death (mental illness is given as the reason in the film; in the book, incest was the cause). After Parris leaves for Vienna, Drake is swindled out of his fortune, becoming a hard-drinking bum until he is 'redeemed' by Randy, and begins working with her family at the train yards. One night, crates fall on Drake, and when the doctor (Charles Coburn), the father of Louise Gordon (who Drake supposedly 'deflowered'), arrives, the old physician sees an opportunity to extract revenge, and amputates both of Drake's legs. Knowing her father had unnecessarily 'punished' Drake unhinges Louise, and the anxious Randy, spiritually and physically crippled Drake, and schizophrenic Louise all await the return of Parris, now a certified physician specializing in psychiatry, from Vienna. Upon his shoulders would lie everyone's redemption and recovery.
Despite an overly earnest performance by Cummings (with some of the most flowery dialog ever recorded on film), KINGS ROW works, thanks to the wonderful performances of Reagan and Sheridan. The ending still packs a wallop, even after sixty years, and is truly moving.
This is a film NOT to be missed!
The story of a group of children growing up in a small community prior to the turn of the century, and the adults they would become, screenwriter Casey Robinson infuses the youngsters' escapades with an innocence that makes their actions (performing acrobatics in their underwear in a freight car, a nude 'dip' in a local pond) seem sweet, not naughty. The 'leader' of the children, Drake McHugh (Douglas Croft/Ronald Reagan) is a rich, likable rogue, popular with girls, but most devoted to his best friend, serious Parris Mitchell (Scotty Beckett/Robert Cummings), a gifted piano student living with his grandmother (the remarkable Maria Ouspenskaya), who dreams of someday becoming a doctor. The girls in their lives are Randy Monaghan (Ann Todd/Ann Sheridan), a good-hearted girl from the 'wrong side of the tracks'; Louise Gordon (Joan Duvalle/Nancy Coleman), boy-crazy, and the most popular girl in town; and mysterious Cassandra 'Cassie' Tower (Mary Thomas/Betty Field), who Parris secretly adores, the daughter of the reclusive Dr. Tower (Claude Rains). After a disastrous party that only Parris and a few 'undesirables' attend (everyone else opts for a party at Louise's home), the heartbroken Cassie is yanked from school and isolated, under suspicious circumstances, by Dr. Tower. Parris grows to adulthood, still carrying a torch for his 'lost love'.
With the children 'grown up', the major story lines begin. Parris studies medicine with Dr. Tower, prior to college in Vienna, and meets Cassie again; despite her bizarre behavior and paranoia, the pair renew their chaste affair, which ends in tragedy and death (mental illness is given as the reason in the film; in the book, incest was the cause). After Parris leaves for Vienna, Drake is swindled out of his fortune, becoming a hard-drinking bum until he is 'redeemed' by Randy, and begins working with her family at the train yards. One night, crates fall on Drake, and when the doctor (Charles Coburn), the father of Louise Gordon (who Drake supposedly 'deflowered'), arrives, the old physician sees an opportunity to extract revenge, and amputates both of Drake's legs. Knowing her father had unnecessarily 'punished' Drake unhinges Louise, and the anxious Randy, spiritually and physically crippled Drake, and schizophrenic Louise all await the return of Parris, now a certified physician specializing in psychiatry, from Vienna. Upon his shoulders would lie everyone's redemption and recovery.
Despite an overly earnest performance by Cummings (with some of the most flowery dialog ever recorded on film), KINGS ROW works, thanks to the wonderful performances of Reagan and Sheridan. The ending still packs a wallop, even after sixty years, and is truly moving.
This is a film NOT to be missed!
Some people grow up and some people just grow older
jamesjustice-921 May 2022
I have to admit, the reason I wanted to watch this movie was because I was curious to see the future president act so I started watching and I didn't like it. It took me two years to get back to this movie and when I turned it on I realized I'd already seen those scenes but that time it was different. Two hours flew by so quickly I didn't even stop for a second. And only with a rewatch I finally understood the real power of the movie - first time it showed me how to grow up and the second time it showed me how much I did.
"Kings Row" stars a whole bunch of brilliant actors and actresses: Robert Cummings, one of the most underrated actors of its generation who's as good in comedies as in dramas like this one; Ronald Reagan who's best known for this role and, having watched several movies with him, I have to agree on that - he played his guts out in this one; lovely Ann Sheridan whose character is so alive, warm and unbroken despite everything, she can bewitch any person watching into loving her. Supporting cast includes the great Claude Rains who is kind of typecast in his role but still is pretty damn good in it and fabulous Charles Coburn who vice versa surprised me the most by playing a vengeful and sadistic character so far gone from his usual type of role that I couldn't help but being amazed by his actions in the movie. Although he has only a couple of scenes in the movie his character is crucial to the story and Charles succeeds in delivering the best performance possible. I guess it's true that there are no small roles.
"Kings Row" doesn't allow you to relax for a second; it puts every character through one misfortune after the other and helps them grow, it leads them to where they belong, it shows them the way of growing up and finally makes the real people out of them. But most importantly, it makes me think of my life, who I am in this world, what I can do and what I've already gone through myself because that's what great movies do.
"Kings Row" stars a whole bunch of brilliant actors and actresses: Robert Cummings, one of the most underrated actors of its generation who's as good in comedies as in dramas like this one; Ronald Reagan who's best known for this role and, having watched several movies with him, I have to agree on that - he played his guts out in this one; lovely Ann Sheridan whose character is so alive, warm and unbroken despite everything, she can bewitch any person watching into loving her. Supporting cast includes the great Claude Rains who is kind of typecast in his role but still is pretty damn good in it and fabulous Charles Coburn who vice versa surprised me the most by playing a vengeful and sadistic character so far gone from his usual type of role that I couldn't help but being amazed by his actions in the movie. Although he has only a couple of scenes in the movie his character is crucial to the story and Charles succeeds in delivering the best performance possible. I guess it's true that there are no small roles.
"Kings Row" doesn't allow you to relax for a second; it puts every character through one misfortune after the other and helps them grow, it leads them to where they belong, it shows them the way of growing up and finally makes the real people out of them. But most importantly, it makes me think of my life, who I am in this world, what I can do and what I've already gone through myself because that's what great movies do.
Before There Was Peyton Place, There Was King's Row
Handlinghandel12 November 2004
This starts out as a soap opera to end all soap operas. Shocking revelations follow one on another like kernels of corn popping in a pan.
The casting is not the greatest, either. Ronald Reagan, whom I often like in movies, isn't bad and Robert Cummings isn't bad, either. But he is not right for the character around whom a sprawling epic ought to be swirling. The ladies fare better. Kaaren Verne, in a small role, is extremely appealing. Imagine that she was married to the brilliant actor but not really studly Peter Lorre at the time!
As it moves along, it gains momentum. The scene in which Parris (Cummings) returns to his family home is wrenching. All the supporting players, even the usually (to me) usually risible Maria Ouspenskaya, are very effective. (How can one beat Betty Field and Claude Rains?!)
In a sense, the star is the famous but still poignant Korngold score. He was a very fine composer who wrote some gorgeous operatic arias; and his talents are very much on display here.
The casting is not the greatest, either. Ronald Reagan, whom I often like in movies, isn't bad and Robert Cummings isn't bad, either. But he is not right for the character around whom a sprawling epic ought to be swirling. The ladies fare better. Kaaren Verne, in a small role, is extremely appealing. Imagine that she was married to the brilliant actor but not really studly Peter Lorre at the time!
As it moves along, it gains momentum. The scene in which Parris (Cummings) returns to his family home is wrenching. All the supporting players, even the usually (to me) usually risible Maria Ouspenskaya, are very effective. (How can one beat Betty Field and Claude Rains?!)
In a sense, the star is the famous but still poignant Korngold score. He was a very fine composer who wrote some gorgeous operatic arias; and his talents are very much on display here.
Quite marvelous
arturus2 December 2007
I've only recently seen this film in its entirety (after decades of watching the clip of Ronnie Reagan's best scene in it) and am totally surprised by how fine this film really is; in fact, when it ended, I found myself wanting to burst into applause. But to appreciate it you must put yourself into the time it was made, mid- to late 1941. This picture was meant to be an "A" picture (that is, the first picture to be shown on a double bill, or the only film being shown) showcasing the up and coming generation of Warners actors. None of the young players was particularly well-known, except in supporting roles. The older players were all familiar to film, theater and radio audiences. Radio, since radio drama was a major national venue then and all of these older players, in fact, most major stars, had starring roles in radio plays.
This picture would have been shown in its first run in the chain of theaters owned by Warners, mostly large ones, and shown in a large house, holding an audience of a thousand people or more, with a very large screen yards wide and high and a sound system that was louder and definitely more "high fidelity" than any member of the audience had at home or had heard anywhere else.
The book on which the film was based had been a scandalous best seller two years before and many if not most had read it (people read books then!) and in fact many in the audience were probably alive when this film takes place, in the last decade of the 19th century and the first decade of the 20th. Everyone would have been familiar with the style of dialogue and acting, which seems stilted to us, since it originated on the stage, with no microphones; the costumes, customs and speech would have been in living memory for many watching it in its first run, if not theirs, then their parents'.
As for Korngold's superb score, this too was a familiar part of a theatrical experience at the time. Most stage plays had live incidental music accompanying them. All major Broadway plays did. Opera, operetta and vaudeville were all part of the audience's experience, all with live music as part of the experience, and no one would have found Korngold's score obtrusive, just part of the show and gorgeous to hear. In fact, Korngold's score for "Robin Hood" in 1938 was premiered live on network radio as a major event, before the picture opened!
As for black and white, these films were truly in "black and white" on the big screen. Blacks WERE black and whites were silvery white. We see then on video screens, and so far, even with the best of those, these films look to be in "gray and grayer", with not the high contrast they had in the theater. So we dismiss them as flat and lifeless; in the theater, black and white has quite a lot of depth and sparkle.
So in its proper context, this film is really quite astonishingly good. The production design is by the same man who designed the look of "Gone With the Wind", so there are the gorgeously composed shots, the depth of field, use of light and shadow and attention to detail in that film. Even the landscapes, matte paintings that so many of them are, most have looked quite beautiful projected large. The acting is all first rate. All the actors, in their late twenties and early thirties, are playing younger than their ages. Cummings has the right wide eyed innocence of an only child reared in relative isolation by his grandmother, Sheridan is beautiful and true, Reagan lively and cocky, and Field, the disturbed adolescent. Reagan is the real surprise here; totally unaffected, he acts effortlessly here on film, building a character, listening to the actors in the scene and reacting in the moment. And his best scenes, "THAT" one, and the final scene, are excellent.
And when it ends, with a flourish those audiences would have found entirely familiar and even comforting, I can imagine an audience of a thousand bursting into prolonged applause.
This picture would have been shown in its first run in the chain of theaters owned by Warners, mostly large ones, and shown in a large house, holding an audience of a thousand people or more, with a very large screen yards wide and high and a sound system that was louder and definitely more "high fidelity" than any member of the audience had at home or had heard anywhere else.
The book on which the film was based had been a scandalous best seller two years before and many if not most had read it (people read books then!) and in fact many in the audience were probably alive when this film takes place, in the last decade of the 19th century and the first decade of the 20th. Everyone would have been familiar with the style of dialogue and acting, which seems stilted to us, since it originated on the stage, with no microphones; the costumes, customs and speech would have been in living memory for many watching it in its first run, if not theirs, then their parents'.
As for Korngold's superb score, this too was a familiar part of a theatrical experience at the time. Most stage plays had live incidental music accompanying them. All major Broadway plays did. Opera, operetta and vaudeville were all part of the audience's experience, all with live music as part of the experience, and no one would have found Korngold's score obtrusive, just part of the show and gorgeous to hear. In fact, Korngold's score for "Robin Hood" in 1938 was premiered live on network radio as a major event, before the picture opened!
As for black and white, these films were truly in "black and white" on the big screen. Blacks WERE black and whites were silvery white. We see then on video screens, and so far, even with the best of those, these films look to be in "gray and grayer", with not the high contrast they had in the theater. So we dismiss them as flat and lifeless; in the theater, black and white has quite a lot of depth and sparkle.
So in its proper context, this film is really quite astonishingly good. The production design is by the same man who designed the look of "Gone With the Wind", so there are the gorgeously composed shots, the depth of field, use of light and shadow and attention to detail in that film. Even the landscapes, matte paintings that so many of them are, most have looked quite beautiful projected large. The acting is all first rate. All the actors, in their late twenties and early thirties, are playing younger than their ages. Cummings has the right wide eyed innocence of an only child reared in relative isolation by his grandmother, Sheridan is beautiful and true, Reagan lively and cocky, and Field, the disturbed adolescent. Reagan is the real surprise here; totally unaffected, he acts effortlessly here on film, building a character, listening to the actors in the scene and reacting in the moment. And his best scenes, "THAT" one, and the final scene, are excellent.
And when it ends, with a flourish those audiences would have found entirely familiar and even comforting, I can imagine an audience of a thousand bursting into prolonged applause.
Unmistakably a 1940s-era Hollywood movie
bandw8 September 2015
The story takes place in a small town at the turn of the 20th century and centers on the relationship between two friends, Drake (Ronald Reagan) and Parris (Robert Cummings), and their lives and loves from early childhood to young adulthood. There is enough turgid melodrama here to satisfy any soap opera fan.
Given its cast, a score by Eric Krongold, and cinematography by James Wong Howe, I was hoping for more. I found Robert Cummings to be weak, always effecting the demeanor of an eager Boy Scout; he always seemed to be just reciting lines, without any real feeling. This was particularly true in one of his final scenes where he took it upon himself to recite the first two stanzas of "Invictus," coming across as a middle school student rushing through memorized lines. After saying that he couldn't remember all the words, he recited the first two stanzas word for word, but then did not even recite the most famous final lines:
I the master of my fate:
I am the captain of my soul.
Parris' final words to Drake had a miraculous effect, in the literal meaning of "miraculous." Unbelievable, actually. At the other end of the acting spectrum I thought Claude Rains was very believable in the role of a psychologically tortured medical doctor. Between the bad and good of Cummings and Rains the other actors did well enough, except the child actors were a bit stilted. In the time since this movie was made the quality of child actors as advanced dramatically.
Released in 1942 this is prototypical of movie-making of the time, which may make it worth watching for film history buffs. The acting styles are dated--millennials will have a hard time with this, being astonished by its lack of realism and its deus ex machina ending. A quote that will have modern audiences reeling was when Drake's wife told him, "Of course you'd have to tell me everything to do, I'm only a woman." I did not detect any tone of irony in her delivery of this line. I found the Korngold score repetitive and intrusive, common features of scores for 40s movies.
Given the world situation at the time this was released (shortly after Pearl Harbor) I imagine audiences at the time felt it was oddly irrelevant. On the DVD is an extra that has the United States Marine Band playing several rousing tunes, starting with the Marines' Hymn--this segment was filmed in 1942 and I suspect that it might have been commonly shown along with "Kings Row."
Given its cast, a score by Eric Krongold, and cinematography by James Wong Howe, I was hoping for more. I found Robert Cummings to be weak, always effecting the demeanor of an eager Boy Scout; he always seemed to be just reciting lines, without any real feeling. This was particularly true in one of his final scenes where he took it upon himself to recite the first two stanzas of "Invictus," coming across as a middle school student rushing through memorized lines. After saying that he couldn't remember all the words, he recited the first two stanzas word for word, but then did not even recite the most famous final lines:
I the master of my fate:
I am the captain of my soul.
Parris' final words to Drake had a miraculous effect, in the literal meaning of "miraculous." Unbelievable, actually. At the other end of the acting spectrum I thought Claude Rains was very believable in the role of a psychologically tortured medical doctor. Between the bad and good of Cummings and Rains the other actors did well enough, except the child actors were a bit stilted. In the time since this movie was made the quality of child actors as advanced dramatically.
Released in 1942 this is prototypical of movie-making of the time, which may make it worth watching for film history buffs. The acting styles are dated--millennials will have a hard time with this, being astonished by its lack of realism and its deus ex machina ending. A quote that will have modern audiences reeling was when Drake's wife told him, "Of course you'd have to tell me everything to do, I'm only a woman." I did not detect any tone of irony in her delivery of this line. I found the Korngold score repetitive and intrusive, common features of scores for 40s movies.
Given the world situation at the time this was released (shortly after Pearl Harbor) I imagine audiences at the time felt it was oddly irrelevant. On the DVD is an extra that has the United States Marine Band playing several rousing tunes, starting with the Marines' Hymn--this segment was filmed in 1942 and I suspect that it might have been commonly shown along with "Kings Row."
A Fine Drama From The Golden Age of Movies
LACUES10 January 2005
"Kings Row" is truly a gem. The acting, photography,direction, script, and memorable score are outstanding. A number of reviewers have criticized Robert Cummings as not being up to the role of Parris Michell. I have to disagree. His earnestness and sincerity are what I appreciate in his characterization which is central to the storyline. Claude Rains, Harry Davenport, Ronald Reagan, and especially Ann Sheridan are outstanding in supporting roles.
I am not an "old geezer", a phrase used by Ronald Reagan in describing Dr. Gordon, who appreciates films from the 30's and 40's; unless being 59 qualifies me as such. I find myself viewing this movie several times a year on tape and Turner Classic Movies. Korngold's theme is truly one of the five top film themes. This is a sensitive and entertaining movie which stands the test of time.
I am not an "old geezer", a phrase used by Ronald Reagan in describing Dr. Gordon, who appreciates films from the 30's and 40's; unless being 59 qualifies me as such. I find myself viewing this movie several times a year on tape and Turner Classic Movies. Korngold's theme is truly one of the five top film themes. This is a sensitive and entertaining movie which stands the test of time.
Intriguing drama, but could have been much better
grantss2 May 2014
Intriguing drama.
Builds slowly, initially quite innocently but then more and more with a sense of menace. Some sub-plots emerge along the way which obscure the main plot. Eventually they all tie together, but they provide too much of a smokescreen, ultimately.
This prevents Kings Row from being a great movie. The sub-plots create this rambling story with several climaxes. You want to build up to one climax, but instead you have several, and these make you feel like you've watched several stories back-to-back, rather than one story.
Ultimately, worth watching, but it could have been so much better. More intense focus on just one of the many and varied subjects and plots, and the dilution and even omission of the others, would have made this great.
Builds slowly, initially quite innocently but then more and more with a sense of menace. Some sub-plots emerge along the way which obscure the main plot. Eventually they all tie together, but they provide too much of a smokescreen, ultimately.
This prevents Kings Row from being a great movie. The sub-plots create this rambling story with several climaxes. You want to build up to one climax, but instead you have several, and these make you feel like you've watched several stories back-to-back, rather than one story.
Ultimately, worth watching, but it could have been so much better. More intense focus on just one of the many and varied subjects and plots, and the dilution and even omission of the others, would have made this great.
DVD urgently needed
forker1 June 2005
This is a wonderful film with one of the greatest musical scores Hollywood ever produced. Eric Wolfgang Korngold is a splendid composer, and this may be his best film score. And the star cast makes the film historically very important. All the major parts are beautifully done. I especially admire Claude Rains and Charles Coburn as the psychiatrist and the sadistic surgeon. The scenes at the beginning with the characters as children is also wonderfully nostalgic and evokes small-town life at the turn of the 20th century effectively. This is Ronald Reagan's best film. It is a disgrace that this film is not yet available on DVD. It would be a good candidate for inclusion in the Criterion series. When can we purchase this film on DVD?
a soap opera that holds interest
rupie27 January 2003
I finally had a chance to catch this classic - home of Ronald Reagan's most famous movie line ("Where's the Rest of Me?") - on TCM. It made an interesting contrast to "Some Came Running", which I had seen in the previous week or so. Both are soap operas, in that they deal with the darker side of the personal lives of a small set of characters. While "Some Came Running" left me cold, "King's Row" had a story line and characters that kept me involved as their tale unfolded over time. Although the actors here, with the possible exception of Claude Rains, are B-level, they all put in workmanlike performances and the direction keeps the story line moving along. Although I've not seen a lot of Reagan's work, I suspect this may be one of his better performances. All in all, well worth watching.
A Liberal's Dream Story
ccthemovieman-114 July 2006
Considering the great cast and reputation, this was very disappointing. I guess the reputation comes from the national critics, all of whom are very liberal and this movie is Left Winger's dream. You see a weak preacher (Hollywood's only kind), you hear some of the Liberals favorite words like like "repression," and "narrow-mindedness," and you can get in on all the small-town gossip and secrets. This movie is so catty-womanish, it's sickening.
What a shame considering the talents of Ann Sheridan, Ronald Reagan, Bob Cummings, Charles Coburn, Claude Rains and more. Reagan, by the way, was a very charismatic politician but didn't have that aura on screen.
Not only is it awful, it's long - 126 minutes. To sit through this again or have another root canal at the dentist's is a tossup.
What a shame considering the talents of Ann Sheridan, Ronald Reagan, Bob Cummings, Charles Coburn, Claude Rains and more. Reagan, by the way, was a very charismatic politician but didn't have that aura on screen.
Not only is it awful, it's long - 126 minutes. To sit through this again or have another root canal at the dentist's is a tossup.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
