The Hunchback of Notre Dame (1939)

My latest 5-star film discovery of 2013 is an early work of beautiful star of the month, Miss Maureen O'Hara. That film is 1939's The Hunchback of Notre Dame.  Based on Victor Hugo's classic novel, this masterpiece of a film also stars Charles Laughton and Sir Cedric Hardwicke, with Thomas Mitchell, Edmond O'Brien, Alan Marshal, and Harry Davenport among the supporting players. Nominated for two Academy Awards, this lavish production was directed by William Dieterle.

Set in 15th century France, during the reign of Louis XI (Harry Davenport), Hunchback is the story of the beautiful Gypsy girl, Esmeralda (Maureen O'Hara), who has danced in the streets and attracted the attention of many, including the Chief Justice, Frollo (Sir Cedric Hardwicke).  Lusting after the ravishing beauty, yet despising himself for doing so, Frollo brings Esmeralda before the court on a trumped-up charge of murder.  Convicted, Esmeralda is sentenced to hang, but is saved from that fate by Quasimodo (Charles Laughton), the deaf, nearly mute, deformed bell ringer of Notre Dame, who is hopelessly in love with her.  Some of the themes tackled in this timeless story are:


Superstition:  Because Quasimodo is deformed, the people fear him and believe him to be possessed.

Handicaps:  Not only is Quasimodo deformed, but he is deaf and barely speaks.

Prejudice:  Chief Justice Frollo despises all Gypsies and deems them unfit to enter France.

Fear:  The printing press has been invented, and Frollo fears what will happen if the people are able to read certain truths for themselves.

Places of refuge:  The Cathedral of Notre Dame is a safe refuge for all.  Once within its walls, those being sought have sanctuary.

Love:  Esmeralda's love for her people and for the soldier, Phoebus (Alan Marshal); poet Gringoire's (Edmond O'Brien) love for Esmeralda; Quasimodo's love for the bells; and, of course, his heartbreaking love for the beautiful Esmeralda, which culminates in one of the most memorable lines I have ever heard, "Why was I not made of stone like thee?"

Hypocrisy:  Though Frollo disapproves of Esmeralda and claims her dancing to be evil, he secretly lusts after her.  He gives the appearance of righteousness and purity, all the while longing for the very thing he claims must be destroyed.  Blaming Esmeralda for inciting the sinful thoughts in him, he is determined to punish her, and he does so by convicting her of crimes she did not commit.

Self-loathing:  Frollo is not all bad, as evidenced by the fact that he has been Quasimodo's protector and benefactor ever since rescuing him as an abandoned infant years earlier; Esmeralda herself believed there was love in him. It is not wickedness---but rather shame over his fall into lust---which drives the Chief Justice to persecute Esmeralda.

Mercy and kindness:  Posssessed with a good and kind heart, Esmeralda desires to help her people---the Gypsies---find freedom from persecution, and when Quasimodo is publicly flogged and left in the pillory, Esmeralda takes pity on him and satisfies his cries for water.



To be honest, though The Hunchback of Notre Dame is a classic and very well-known piece of literature, I haven't ever read it.  I struggled greatly with Mr. Hugo's Les Miserables, so I was never keen on reading another of his works.  Thus, I have no idea how close this film is to the novel.  As I've stated before, though, whether a film is true to its book counterpart or not rarely matters to me.  I think both have merit of their own---and this film version has incredible merit.

Quite honestly, I think this production is nothing short of spectacular.  While it came away with an Academy Award nomination for its Alfred Newman score, as well as a Best Sound, Recording nomination, I can't believe it didn't receive many more nominations.  For sure, I think it ought to have received a Best Picture nomination, as well as a Best Director, a Best Costume Design, and last but not least, a Lead Actor nomination for Mr. Laughton.  I haven't seen Laughton's entire filmography, of course, but I can't help but believe his work in Hunchback was the performance of his career. He is beyond brilliant in this role.  The way he brings the deformed Quasimodo to life is absolutely breathtaking . . . and heartbreaking. Yes, 1939 was the year Clark Gable and James Stewart gave terrific ("should have won an Oscar") performances in Gone with the Wind and Mr. Smith Goes to Washington, but Mr. Laughton was right there with them.  Not nominating him for a Lead Actor award was a gross oversight on the part of the Academy.

In addition to Mr. Laughton, I believe the costume designer and makeup artists ought to have received Oscar nominations.  (Of course, that wasn't go to happen, because those categories didn't become part of the Academy Awards until 1948 and 1981.)  Whether acknowledged with an award or not, however, the people responsible for transforming Mr. Laughton into a grotesque "hunchback" did a phenomenal job   Though made in 1939, the artistry of this film was very ahead of its time.

Nineteen years old and incredibly beautiful here, Maureen O'Hara plays the part of the kind-hearted Esmeralda perfectly.  This is her 4th film, and its easy to see why she would go on to be a major Hollywood star.  Harry Davenport is his usual, fairly-lovable self (not at all in keeping with other film portrayals of King Louis XI).  Edmond O'Brien, in his film debut at age 24, is incredibly handsome (and thinner than I have ever seen him).  What fun seeing him at such a young age.

Finally, Sir Cedric Hardwicke gives a superb performance as well.  Frollo is a complex character---not completely evil, just power hungry, controlling, and disgusted by the awakening of desires from which he had pledged to abstain.  Hardwicke does a fantastic job bringing all the nuances of the troubled Frollo to life.  He, too, ought to have received an Academy Award nomination.

Out on DVD, this 1939 version of The Hunchback of Notre Dame ought to be fairly easy to track down.  I highly recommend seeing it.  It is a spectacular work of art.

Happy viewing!

By the way, Hunchback is one of the films being screened at Boise's Egyptian Theatre this coming Saturday (August 17th), for Maureen's 93rd birthday bash.  Much as I love it and would be thrilled to catch it on the big screen, I won't be doing so.  I have tickets for The Quiet Man, The Black Swan, and How Green Was My Valley, which run consecutively, so I'll already be sitting through over 6 hours of movies.  Hunchback follows How Green Was My Valley, so that would be pretty much 8+ solid hours of sitting.  The 6 hours is pushing it, so I know I wouldn't make it through 8.
 

NOTE:  All photos obtained from Doctor Macro  (HERE)

The Red Badge of Courage (1951)

Who among us doesn't remember those mandatory readings of our high school literature class?!  Those required readings and our enjoyment of them---or lack thereof---may well have meant the difference between an "A" and a "C" in the class.  It was that way for me anyway. While The Great Gatsby and The Scarlet Letter were breathtakingly wonderful reads for me and, thus, inspired passionate discussions and even more passionate essays, William Shakespeare and Tennessee Williams had the very opposite effect. Every page---no, make that every word---was a struggle, and my resulting assignments were lifeless and dry. While I wouldn't put Stephen Crane's The Red Badge of Courage in the same category as Williams and Shakespeare, it was definitely only middle of the road for me.  I made it through Mr. Crane's novel, but I was rather ambivalent about the thing, so for that reason, seeing the film version of his story has never been high on my list of things to do.  It is only because Audie Murphy portrays one of the lead characters in the 1951 film and because it is one of his few non-Western films that I bothered to give it the time of day.  Wow!  I am so glad I did, because I think it is brilliant!  It's easily a 5-star film---my 5th such "discovery" this year---and my third favorite of Mr. Murphy's works.

Directed by John Huston, The Red Badge of Courage is one of Audie Murphy's earliest works; in fact, it's his 7th film.  Also featuring Andy Devine, Royal Dano, Bill Mauldin, Douglas Dick, and John Dierkes, this film was considered to be a casting masterpiece.  "Hedda Hopper had told an MGM executive "...it would be nice seeing a real soldier playing the part of a screen soldier for a change.  With so many of our young men going to Korea, putting Audie in the picture would aid in boosting their morale."  [1]  Director Huston agreed and pushed for Audie when MGM officials wanted a more known star.  Another piece of casting genius was WWII cartoonist, Bill Mauldin.  Murphy and Mauldin, only a few years removed from the battlefield, obviously drew on their own real-life experiences, for they brought an incredible sense of realism to their portrayals.

As the American Civil War inches into its second year, a regiment of newly-trained Union soldiers is preparing for its first battle---there's the Cheery Soldier (Andy Devine), the Tattered Man (Royal Dano), the Loud Soldier (Bill Mauldin), the Lieutenant (Douglas Dick), the Tall Soldier (John Dierkes), and the Youth, Henry Fleming (Audie Murphy).  While the majority of the men seem excited and fearless about what is soon to come, the Youth is frightened and has extreme doubts about his ability to fight.

The next day, as the battle rages around him, the Youth's courage fails him and he runs away. After the fighting subsides, Henry, ashamed of his cowardice, wishes he had his own "red badge" (war wound), for it would signify that he had had the courage to fight.  Returning to his regiment and discovering that in the chaos of battle, no one knew he had run away, he lies that he was grazed by a bullet.  With his guilt and shame eating away at him, Henry seeks to make amends in the next battle.  He is determined to conquer his fear and not allow it to render him a coward again.





The Red Badge of Courage was a box-office disaster; however, Audie Murphy's acting received great reviews.  One magazine said, "Audie Murphy proves himself almost as good an actor as he is a soldier." [2]  For me, this is the best performance of Audie's entire career---he is absolutely sensational!  I could vividly see and feel every single emotion Henry experienced---the fear, the shame, the anxiety, and the victory.

Audie said, "There's a thin line between being a hero and a coward.  That's something the book tries to show and something I learned too." [1]  Basically, being courageous doesn't mean an absence of fear; rather, it means, as Audie exemplified in his own life, moving forward even in the midst of fear...defeating it and not allowing it to render you immobile or cowardly.  The young man who learned that lesson in this film is brought brilliantly to life by Mr. Murphy.

The film's lack of success wasn't due to the acting, direction, or cinematography.  All of those things are perfect.  In beautiful black and white, with appropriate dust and smoke, the film gives the appearance of being actual documentary footage of war---it's that realistic.  The downer for me is the use of a narrator (speaking Stephen Crane's penned words).  I didn't really find the narration necessary.  Also, the MGM brass cut 25 minutes of footage, resulting in a film barely over an hour long.  While we will never know the full film John Huston envisioned, I think this abbreviated version is terrific, realistic, and well worth viewing.

This is the first of two films Audie Murphy made with John Huston.  The two would work together again nine years later, in 1960's The Unforgiven.  Again, while the film was not a success, Mr. Murphy's work received much praise, proving that while many consider Murphy a sub-par actor, when under the direction of a gifted director, he was capable of not just a solid, believable performance, but of extremely wonderful work.

Out on DVD, The Red Badge of Courage should be fairly easy to track down.  I think it's not only a terrific Civil War film, but a terrific war film period.  It really evokes the emotion of the soldier.

Happy viewing!!

[1]  From American Hero, The Audie Murphy Story, by Peggy Caravantes, Avisson Press, Inc., 2004


[2]  From American Hero, The Life and Death of Audie Murphy, by Charles Whiting, Eskdale Publishing, 2000.

All photos in this article were obtained from the Audie L. Murphy Memorial Website  (HERE)

The Gun Runners (1958)

It was last June, in honor of Audie Murphy's birthday, that I discovered The Gun Runners, and while I reviewed it then, since it is one of my two (so far) favorite Murphy films, it would be totally remiss of me not to spotlight it while he is star of the month.  Besides, while my first viewing of this film found me rating it 4---and very close to 5---stars, repeated viewings have definitely moved it into the 5-star "love it" category.  (Alas, since I "discovered" this film last year, it will not be part of my "5-star film discoveries of 2013.")  So, without further ado, here is a revision and expansion of my review of The Gun Runners.

The third film adaption of Ernest Hemingway's To Have and Have Not is 1958's The Gun Runners, starring Audie Murphy and Eddie Albert.  Directed by Don Siegel, this film, which features Patricia Owens and Everett Sloane in supporting roles and introduces Gita Hall (in the first of her two films), is my second favorite version of the Hemingway story (John Garfield's The Breaking Point is my absolute favorite).

Living in Key West, where he runs a charter fishing service with his boat, the Lucy M, is former Navy man, Sam Martin (Audie Murphy), a good guy who doesn't have it in him to do wrong. Though finances are a constant struggle, he and his wife Lucy (Patricia Owens) are happy and very much in love.

After failing to be paid close to $1,000 for a job, Sam hits a local casino, where his financial burden comes to the awareness of craps player Hannigan (Eddie Albert), who hires Sam to take him fishing.

Accompanying Hannigan on the excursion is Eva (Gita Hall), and though she puts the moves on him, Sam has no intention of cheating on his wife.  (The lines he uses to decline her advances are the exact same ones John Garfield uses to turn down Patricia Neal in The Breaking Point.)

Using the fishing excursion only as a ploy, Hannigan's real destination is Havana, where he has arranged a meeting with a band of Cuban revolutionaries.  After an eventful night--in which Hannigan shoots a man---Sam returns to Key West, completely determined to avoid any future contact with his lawbreaking passenger and the political unrest in Cuba.

However, when the mortgage on the Lucy M is bought by Hannigan, Sam has no choice but to do the man's bidding.  Behind on his payments, Sam finds his boat in foreclosure, and the only way he will be able to get her back is to deliver Hannigan---and the guns he is supplying the revolutionaries---to Cuba...something he absolutely does not want to do.

Will this man, who doesn't have it in him to go bad, go bad after all?  How it all plays out is the balance of the film.




As stated above and discussed HERE, John Garfield's The Breaking Point is my absolute favorite version of this story (and the most faithful to Mr. Hemingway's work).  The Gun Runners, though, is easily my second favorite (and not far behind The Breaking Point), leaving the Bogey/Bacall adaption as the one I like the least (and a 2-star film for me). Sacrilege, I know, but To Have and Have Not just doesn't do it for me.  Oh, I readily admit that Bogey and Bacall have amazing chemistry, but the story itself doesn't touch me at all.  I don't care about any of the characters, and both times I watched the film, I found myself longing for it to end.  The Gun Runners, though, as with The Breaking Point, I completely and totally love.

Because I don't care for To Have and Have Not, I very nearly didn't even give the other two adaptions a try. It was only because of my determination to see John Garfield's entire filmography that I bothered with The Breaking Point, and I must be honest, I wasn't expecting much. Wow, would I have been missing out if I had skipped it, for it immediately became my absolute favorite John Garfield film (still is).  Because of that positive experience, and because I like Audie Murphy, I took a chance with The Gun Runners, and as with The Breaking Point, I was so glad I did.  I was wild about it, and it immediately shot to the top of my "favorite Murphy films" list.  Repeated viewings have only served to increase my love for it.

I completely adore Audie in this film.  Besides loving his character, I love his look.  In his early 30's here, his face has matured from his earlier Westerns, and he is incredibly handsome. Acting wise, while Audie Murphy was no John Garfield, he is extremely solid in this role---I find him to be just as believable as Garfield; and with his soft-spoken demeanor, Mr. Murphy brings a different kind of vulnerability to the character than Garfield does. The film's storyline is interesting, exciting, and thought-provoking, the characters are memorable, and the playful, romantic interaction between Murphy and his wife is very sweet---it's not often you get a chance to see a romantic side of Audie. (The same playful interaction occurred between John Garfield and wife Phyllis Thaxter in The Breaking Point, and I loved it there as well.)

Eddie Albert is terrific in his role as the "heavy."  Who knew he had that kind of stuff in him?  I sure didn't.  He is about as far from Green Acres' Oliver Wendell Douglas here as he is from the moon!  Taking on the Walter Brennan/Juano Hernandez role here is Everett Sloane, and he puts in a good performance.  I'm not familiar with Patricia Owens at all, but she is sweet wife material.  I really like her in this role.  Plus, she and Audie have great chemistry together.

All these things work together to make The Gun Runners a 5-star "love it" film for me.  If you are a fan of Audie Murphy, you will definitely want to see this.  Also, if you've read the Hemingway story, you might want to watch this and see how it compares.

Out on DVD, The Gun Runners ought to be fairly easy to track down; plus it is available through instant viewing on Net Flix.  I do hope you get a chance to see it, as I think it is terrific!

Happy viewing!!


NOTE:  All photos in this post were obtained from the Audie L. Murphy Memorial Website (HERE)

The Prisoner of Zenda (1952)

The Prisoner of Zenda---so far---is in no danger of losing its status as my favorite Stewart Granger film.  Although many blog readers thought Scaramouche---which I caught for the first time last week and will be reviewing later this month---would usurp that #1 position, it didn't. Oh, I liked the film tremendously, and I thought Mr. Granger was more handsome in that film than in any other I have seen (and I think he's always gorgeous---at least when he is clean-shaven); however, The Prisoner of Zenda is so dear to me that it was able to withstand the competition and remain my favorite Stewart Granger film.  Loving that film as I do, I thought re-working and expanding on its previous post was a definite must for Mr. Granger's centennial celebration here at They Don't Make 'Em Like They Used To.

Based on Anthony Hope's 1894 adventure story, The Prisoner of Zenda has seen several film adaptions through the years.  Perhaps the best known of them is the Ronald Colman/Douglas Fairbanks, Jr. one from 1937; this lavish Technicolor 1952 version---which stars Stewart Granger and Deborah Kerr and features Louis Calhern, Jane Greer, and James Mason in support---is, according to Robert Osborne, nearly the exact likeness of the 1937 film.  In fact, the same script was used, as was the same Alfred Newman score.  The only differences, according to Osborne, were a new cast and the addition of technicolor.  Many people prefer the '37 film; I, however, have not yet seen that one, so I cannot compare the two and am basing my rating solely on how this particular film affected me.

The film begins just before the coronation of Rudolph V, king of the fictional country of Ruritania.  Just happening to be on his way through the country at the time is a distant cousin of the king, an Englishman who also bears the name of Rudolph.  Except for the fact that the Englishman has a mustache and is graying at the temples, he is the exact image of the king. (Stewart Granger plays this dual role.)  The Englishman is invited to dine with the king on the eve of the coronation.  In his usual fashion, the king drinks to excess; later, however, he collapses...having been poisoned through his wine.

King Rudolph's allies know that the king's half-brother Michael, who wants the crown for himself, is likely the one behind the poisoning; they also know that if the coronation does not go on as scheduled, Michael will be crowned instead.  Since Rudolph the Englishman looks virtually identical to the king, it is suggested that he impersonate the king for the coronation ceremony, after which time, the effects of the poisoning will have worn off, and Rudolph can take his throne and the Englishman may continue on his journey, with no one ever knowing that it was not the real king who was actually crowned. Convinced that the plan will work, Rudolph the Englishman takes the king's ring and the plan is set in motion, with the real king being hidden away in the wine cellar.

Is Rudolph the Englishman successful at convincing everyone that he is the real king?  And what about when he meets the Princess Flavia (Deborah Kerr), the woman promised to the king?  Do Michael and his cohorts sit back quietly and allow their plans for Michael to usurp the throne to be thwarted?  These are the questions which play out in this exciting little film. The dashing (and beautiful voiced) James Mason portrays one of Michael's partners in crime, and there is a terrific fencing scene between him and Stewart Granger.




According to Stewart Granger's autobiography, Sparks Fly Upward, it was his idea for the remake.  While he and Jean (Simmons) were dining with Mr. and Mrs. Ronald Colman, Mr. and Mrs. David Niven, and Deborah Kerr and husband one evening, Mr. Colman ("Ronnie," as Granger refers to him) asked if they would like to see one of his old films, and since Mr. Niven had also appeared in The Prisoner of Zenda, that is the film the guests were shown.  Enthralled with the film, Granger announced that he was going to suggest to Dore Schary (Metro) that he buy the rights and do a remake, which, of course, he did and Mr. Schary did. Though Granger had no illusion that "he could ever compete with Ronnie Colman as an actor, at least (he said), he could fight better"...or so he thought.  At one point in the filming of the sabre fight, he forgot to "parry to the left" and was caught in the mouth by the sword.  Though not a serious injury, it spilled forth quite a bit of blood and required a few stitches; however, the next day, Granger was able to get back to filming, and in only twenty-eight days, this extravagant Technicolor version of The Prisoner of Zenda was completed.  "Bloody hard work but great fun," according to Granger.  Sensational, captivating, and charming, according to me! I absolutely love this film!

Out on DVD as part of the Literary Classics Collection, The Prisoner of Zenda should be quite easy to track down.  Additionally, it is on TCM's schedule for Monday, June 24th, at 2:00 p.m. (ET).  Definitely, try to see it...it's an exciting, entertaining, 5-star gem of a film.

Happy viewing!!

NOTE:  All quoted material derived from Sparks Fly Upward, by Stewart Granger, G. P. Putnam's Sons, 1981.

Moonfleet (1955)

When I think of Fritz Lang, I think of gritty noirs, but as 1955's Moonfleet bears out, he was quite capable of other things as well.  An action/adventure period drama starring Stewart Granger and child star John Whiteley, Moonfleet is based on J. Meade Falkner's 1898 novel of the same name.  Featuring George Sanders, Joan Greenwood, and Viveca Lindfors in support and a terrific Miklos Rozsa score, this film is right up there with The Prisoner of Zenda as my favorite Granger film.  (I have yet to see Scaramouche, so things could soon change.)

In 18th-century coastal England, young John Mohune (John Whiteley) makes his way, by night, to the little town of Moonfleet, where, directed by a letter from his recently-deceased mother, he will be able to find Jeremy Fox (Stewart Granger), who according to the letter, will be a friend to him.  Recently returned from the colonies and now living in the home once belonging to the dead woman's family, Fox and the woman appear to have been in love in their youth.  Though her family drove Fox away and married her off to a more suitable man, the dead woman is confident that Fox's former love for her will cause him to help her now-orphaned son.

Not the law-abiding man the writer of the letter once knew him to be, Fox is now the leader of a band of smugglers, with no interest in the everyday responsibility of a young boy. Wanting to be rid of the child, yet wanting to do the right thing by his mother, Fox intends to send him away to be educated; however, convinced that Fox is his friend, the lad is just as determined to remain in Moonfleet.  The little boy's unconditional love and trust eventually work their magic on Fox's cold, selfish heart.  At one point, Jeremy is forced to spar with one of his own gang in order to keep John alive.




Though in his autobiography, Sparks Fly Upward, Mr. Granger refers to Moonfleet as "another dreary costume epic, directed by the once brilliant Fritz Lang," I don't agree with his opinion at all.  I quite enjoyed this film---it is interesting, exciting, and well-acted.  Complete with a long-lost diamond, a coded treasure map, a supposedly-haunted graveyard, a cutthroat hideaway, and a short, but exciting, swashbuckling scene, this film is pretty much non-stop action.  Add to that, Mr. Granger never looked more handsome, and little John Whiteley is a charmer.  There were even a couple of touching moments which got me misty-eyed.  For me, this is easily a 4-star movie...and very close to 5.

Having never read the book upon which the film is based, I can't compare the two.  However, whether the two stories differ from one another matters little to me. In fact, it never bothers me if a film is significantly different from the book which inspired it; I see them as two separate entities, both of which can stand on their own.  I'm not sure why people get so bent out of shape when a story is changed---after all, both can have merit.

Out on DVD, Moonfleet should be fairly easy to track down.  Adventure-loving film fans ought to greatly enjoy it.

Happy viewing!!

Salome (1953)

First up for Stewart Granger month is the lavish, Technicolor Biblical epic, Salome.  From 1953, this beautiful William Dieterle film stars Rita Hayworth in the title role, with Mr. Granger as her co-star and Charles Laughton, Judith Anderson, and Alan Badel in support.  Featuring gowns by Jean Louis, this film is loosely based on the Biblical story of Princess Salome, who danced for King Herod in exchange for the head of John the Baptist.

In the time of Tiberius Caesar (Cedric Hardwicke), King Herod (Charles Laughton) and his wife, Herodias (Judith Anderson), are on the throne in Galilee.  Because their marriage is adulterous in the eyes of God, they are regularly and publicly condemned by the prophet, John the Baptist. Enraged by the Baptist's preaching, Herodias demands that her husband put the man to death; however, believing that the wrath of God and the people will fall on him if he lays a hand on John, the king is unwilling to arrest him.

Meanwhile, in Rome, the beautiful princess, Salome (Rita Hayworth), has incurred the emperor's wrath.  Herodias's daughter by a previous marriage, Salome has been living in Rome since she was a child.  Because the emperor's nephew and she have fallen in love and wish to be married, and since the law is clear that a Roman must marry a Roman, a request is made of the emperor to allow  an exception in their case.  Furious that his nephew wishes to marry a "barbarian," the emperor banishes Salome from Rome, sending her back to Galilee.

Also sailing from Rome, are the new Judean governor, Pontius Pilate, and Commander Claudius (Stewart Granger), a Roman soldier stationed in Galilee.  Though a Roman, Claudius is secretly a follower of John the Baptist and, ultimately, Christ.  Although his relationship with the beautiful Salome starts off on an angry, hateful note, eventually, the two fall in love.  With Claudius wanting to protect the Baptist, her mother hoping to have him executed, and her stepfather, Herod, inflamed with lust for her, Salome must determine where her true loyalties lie.

This film is lavish and beautiful and well-acted.  Charles Laughton is so very believable as the lecherous old man who lusts after his stepdaughter.  He may have been a bit over the top, but I think the role called for that.  Judith Anderson plays nasty so well, and I think she's good here, though not quite on par with her performance as housekeeper, Mrs. Danvers, in Rebecca. Stewart Granger is great here and very believable in his role, plus he's incredibly handsome and wears the Roman garb beautifully.  Rita Hayworth is completely stunning, and her "Dance of the Seven Veils" is undeniably sensual.



Much license is taken with the true facts, so if that bothers you, you will probably not like this film. It didn't bother me, as I see the film for what it is---a story based on history, not an actual history lesson.  I'm going with 3 stars on this, but it's more like 3.5.

Incidentally, when I was watching this, my son walked into the room.  Since I was on my laptop, he couldn't see the screen...he could only hear it.  He said to me, "What are you watching?  Ben-Hur?"  I had thought the same thing---that the score sounded very Ben-Hur-like on occasion. It really must have if, without any prompting from me, my son thought the same thing.

Although not on the TCM schedule in the near future, Salome is out on DVD, plus it is available in its entirety on YouTube (HERE).  I hope you get a chance to see it.

Happy viewing!!

We Live Again (1934)

We Live Again, starring Fredric March and Anna Sten, is a 1934 period drama based on Leo Tolstoy's novel Resurrection.  Fredric March is Dimitri, a Russian nobleman, who is getting caught up in the beginnings of socialism.  He believes in equality of persons, and thus, he spends the bulk of the summer enjoying the company of Katusha (Anna Sten), a beautiful peasant girl who works for his family.  Although Dimitri and Katusha are very much in love, by summer's end, they separate, as Dimitri must pursue military training.

Over the next two years, Dimitri's views change, and by the time he returns home, he is not the same man he was before.  He does still desire Katusha, though, and in short order, seduces her.  The morning after their interlude, Dimitri rides away and out of Katusha's life, leaving nothing behind but an envelope with a piece of money contained within.

Katusha is humiliated and devastated by Dimitri's actions.  Soon, though, she discovers that she is pregnant, which makes her situation even worse, for the royals dismiss her from her position. Driven from her home and job, Katusha falls onto very bleak times and, ultimately, finds herself on trial for murder.  It is at that point that Dimitri re-enters her life.



As already noted, this movie is based on Leo Tolstoy's novel Resurrection.  Some might think that you would need to be a Tolstoy fan in order to enjoy this movie.  I don't find that to be the case.  I actually don't care for Tolstoy.  War and Peace is a huge challenge for me to get through, and I have never been able to get through Anna Karenina.  I've never read the novel on which We Live Again is based, but I definitely enjoyed the movie...I even found myself getting misty-eyed on a couple of occasions.  Two warnings, though...first, the ending is highly unrealistic.  Second, there is a scene in the church about 25 minutes into the movie that was far too long, in my opinion.  It went on for about three minutes, and I very nearly gave up on the movie at that point.  But I persevered through the boredom...and I'm glad I did. Although this isn't an excellent movie by any means, I think it's a solid 3 stars (more like 3.5) and definitely worth watching.  Fredric March gives his usual terrific performance, and Anna Sten, who I'm not overly familiar with, is lovely and very good in her role.

By the way, there is a very strong socialist message in this film, but don't let that deter you from seeing it. It's more a beautiful love story and a story of repentance than anything.  The film is out on DVD, so it should be easy enough to track down.

Happy viewing!!

The Roman Spring of Mrs. Stone (5 stars)

In all of last year, I had 6 "new to me" 5-star films...this year, after only 33 days, I already have 4!  It's not that I'm getting easier to please, because I also have at least a half dozen 1-star, couldn't-get-into-it-and-turned-it-off-after-20-minutes films.  Whatever the reason I've come upon so many lately, I absolutely love making 5-star film discoveries...and I love sharing them with my blog readers, always hoping that you will be as excited about the film as I am.  So, without further adieu, here is the first 5-star film discovery of 2013.

From 1961, comes The Roman Spring of Mrs. Stone, a meaty, adult-themed, tragedy, starring Vivien Leigh and, in his second film appearance, Warren Beatty.  Taking on a supporting role in the film (and nominated for an Academy Award for her performance) is Lotte Lenya, with a very young (and beautiful) Jill St. John having a small part as well.  Based on the Tennessee Williams novel of the same name, The Roman Spring of Mrs. Stone has somewhat of a Sunset Boulevard feel to it, as it explores the relationship between a fading, middle-aged actress and a much younger gigolo-type man.

Middle-age stage actress, Karen Stone (Vivien Leigh), has reached a crisis point in her career. After being told by a friend that it's not a question of talent but of time of life and that she ought to take on more age-appropriate roles, Karen makes the decision to close her current play and to take a vacation with her years-older husband.  Before reaching their destination, however, Tom Stone suffers a fatal heart attack, leaving Karen to face life in Rome by herself.

In the business of providing handsome young men to wealthy widows of a certain age, the Contessa Magda (Lotte Lenya) makes a call on the lonely Mrs. Stone.  Accompanying the Contessa is Paola de Leo (Warren Beatty), who puts the moves on Karen, only to find, to his great ire, that she has no interest in him.  Knowing Karen is extremely wealthy, Paola intensifies his efforts to enter into a relationship with her, and in time, he is successful.  Though Karen has her doubts about the suitability of seeing Paola, since she is incredibly lonely and "drifting through life with nowhere to go," she continues to spend time with him; eventually, despite knowing that Paola may be using her for monetary gain, Karen falls into a physical affair with him.

With the Contessa pressuring him for her share of what he's received from Mrs. Stone, Paola intensifies his efforts with Karen, even indicating that he is in love with her.  Having fallen in love with him, Karen fails to heed her friends' warnings that she has become a subject of gossip; in fact, she pushes her friends away.  Paolo has become her obsession...only now he flirts with other women and, instead of words of love, he spews forth cruelty; adding to Karen's angst is the stranger lurking around her apartment and following her around the city.

Does Paolo really love Karen?  Or is he just using her?  Will the Contessa continue to wait patiently for Paolo's payment?  Will Karen be able to stop "drifting through life" and gracefully accept that she is growing older? And what of the lurking stranger?  What does he want with Karen?  These are the questions which will play out throughout the remainder of the film.



There is so much about this film that merited a 5-star rating---the acting, the photography, the direction, the score.  Vivien Leigh is completely and totally terrific in her role.  Forty-eight years old here and grieving the ending of her marriage to Laurence Olivier, she may have felt she was bringing her own story to life.  While Vivien's marriage had ended due to divorce rather than death as her character's had, she was no less heartbroken.  Perhaps the very fact that Karen's life somewhat mirrored her own made Miss Leigh's portrayal of her so realistic...so gut-wrenching...so heartbreaking...so all-fire tragic!  The pain in Karen's eyes as she "drifted" through the film was, undoubtedly, the same pain Vivien herself was experiencing.  I loved Karen, and I so felt for her..in part, I'm sure, because of her parallel with Miss Leigh, whom I have come to love.  Though nearly 48 here, Vivien is still incredibly beautiful---once you get used to the blonde hair hair she is sporting.  Her wardrobe is stunning---I was especially wild about the beige one-shoulder gown.  Finally, adding an extra dose of sorrow to Miss Leigh's tragic portrayal, is the knowledge that this is her next to last film.

Lotte Lenya is absolutely terrific as well.  She oozed sleaziness!  As the pimp/madam, she resided, appropriately, in a gaudy red-walled apartment, absentmindedly stroking her cat while manipulating her entourage of young men to do her bidding.  She was so perfect, she made my skin crawl!

I will admit that I almost went with with 4 stars on this, simply because of Warren Beatty.   I don't care for him (dare a woman of the 1970's admit that!), and I found his attempt at an Italian accent annoying.  In the end, though, since I found his portrayal of the selfish gigolo spot-on, I had to stay with 5 stars.  Lowering a rating just because I don't like Beatty is not being very objective.

The musical score and the shots of Rome add to the moody authenticity of the film, and the ending scene is powerful, haunting, and moving.  All in all, I found The Roman Spring of Mrs. Stone to be a totally terrific, 5-star viewing experience.

The film is out on DVD; however, it is on the TCM schedule for this Wednesday, February 6th at 8:00 a.m. (ET).  If you like hard-hitting, meaty, adult-theme dramas, you ought to greatly enjoy this film.

Happy viewing!!

Death of a Salesman (5 stars)

Yes, it's the middle of September, but I am still in August mode (Fredric March) as far as movie reviews go.  I have three of Mr. March's movies to review, but I just haven't had the time to do them until now.  So, despite the fact that I had intended to focus on George Raft in September, Fredric March will still be seeing quite a bit of action here at They Don't Make 'Em Like They Used To.

One of the films I enjoyed for Mr. March's August birthday celebration is the film which garnered him his fifth Academy Award nomination.  That film, which I caught for the very first time and which is one of my 5-star film discoveries of the year, is 1951's Death of a Salesman. Based on the Arthur Miller play of the same name, Death of a Salesman is a powerful, moving, emotionally-charged drama also starring Midred Dunnock, Kevin McCarthy, and Cameron Mitchell.

The salesman in Death of a Salesman is 60+ year-old Willy Loman (Fredric March), who after 36 years with his company, has just been removed from salary and put on straight commission.  Although Willy resides in New York, he is in charge of a New England route and is, thus, on the road every week.  His wife, Linda (Mildred Dunnock), worried because Willy's mind wanders and he has nearly had a car crash, suggests that he approach his boss about working out of the New York office instead.

Discontent with how his life has turned out, Willy spends much of his time reminiscing about former "good" days and thinking about his brother's success in Alaska.  Beyond that, as Linda confides to their sons, Willy has been borrowing $50 a week from a neighbor and pretending it is his pay.  He also has been trying to kill himself.

Willy and Linda's two adult sons, Hap (Cameron Mitchell) and Biff (Kevin McCarthy), return home for a visit, and immediately, there is strife between Biff and his father.  Though he showed promise as an athlete when in high school, Biff has been irresponsible and unmotivated since then, and he has never amounted to anything in Willy's eyes.  Willy has no idea that it was he, himself, who set Biff on the path of restlessness.

The situation soon reaches a crisis point---Willy asks about being given a local position...Biff meets with an old employer, hoping he will invest in a business venture...Hap abandons his father at a restaurant after picking up girls...Biff declares his father a fake...and Linda laces into her sons for their disrespect of their father.  And overriding it all is the fact that Willy cannot accept that he is just an ordinary man with ordinary sons.  How it all plays out is the balance of the film.




Death of a Salesman has enjoyed decades of success both on the screen and on the stage.  I have never seen any of the other versions and, in fact, had no knowledge even of the story until my viewing of this film.  Therefore, I am unable to compare one version to another---my review is based solely on what I saw in this film.  And what I saw here was completely sensational.  This is a powerful "message" movie, as it takes on some very deep, profound subjects...such as what constitutes success, acceptance of one's children for who they are, the yearning for parental approval, and the plight of aging workers.

While the acting of everyone in this film is fantastic, Fredric March and Kevin McCarthy moved me in an especially powerful way.  I could relate to Mr. McCarthy's character and, thus, was deeply touched by him.  I thought Mr. McCarthy's portrayal was heartfelt and completely real.  As for Mr. March...his portrayal of Willy Loman blew me away.  I already thought he was a sensational actor, but he was completely brilliant here.  This was the year which Humphrey Bogart won the Academy Award (for The African Queen), and I have long-said that I thought Mr. Bogart ought to have won for other films (namely Casablanca and The Treasure of the Sierra Madre, for which he wasn't even nominated), but that Montgomery Clift ought to have won in 1951 (for A Place in the Sun).  Then, I saw Detective Story, and I thought Kirk Douglas was fantastic.  Though he didn't even garner a nomination, he could have given Mr. Clift a run for his money.  Now that I have seen Death of a Salesman, I definitely believe it ought not to have been Mr. Bogart's year.  Hands-down, I think Fredric March's portrayal of Willy Loman was the performance of the year.  (Even beating out my beloved Monty in my all-time favorite movie.)

This film is not out on DVD, and I don't believe TCM airs it very often.  At least, I don't recall seeing it on their schedule, and since I generally record most Fredric March films, I'm usually pretty observant of his name in a cast.  For those reasons, this has been a difficult film to track down, but I finally found it on YouTube (in parts).  Click HERE for part 1.  Definitely try to see this amazing and powerful film.

Happy viewing!!

The Gun Runners (4 stars)

The third film adaption of Ernest Hemingway's To Have and Have Not is 1958's The Gun Runners, starring Audie Murphy and Eddie Albert, with Patricia Owens and Gita Hall taking on supporting roles.  This film, which I watched in honor of Mr. Murphy's June 20th birthday, is my second favorite adaption of the Hemingway story.  As discussed HERE, John Garfield's The Breaking Point is my absolute favorite version (and the most faithful to Mr. Hemingway's work).  The Gun Runners, though, is easily my second favorite (and very close to being a "love it," 5-star film), leaving the Bogey/Bacall adaption as the one I like the least (and a 2-star film for me).

Living in Key West, where he runs a charter fishing service with his boat The Lucy M, is former Navy man, Sam Martin (Audie Murphy), a good guy who doesn't have it in him to do wrong.  Though finances are a constant struggle, he and his wife Lucy (Patricia Owens) are happy and very much in love.

After failing to be paid close to $1,000 for a job, Sam hits a local casino, where his financial burden comes to the awareness of craps player Hannigan (Eddie Albert), who hires Sam to take him fishing.  Accompanying Hannigan on the excursion is Eva (Gita Hall), and though she puts a bit of a move on him, Sam has no intention of cheating on his wife.  (The lines he uses to decline her advances are the exact same ones John Garfield uses to turn down Patricia Neal in The Breaking Point.)

Using the fishing excursion only as a ploy, Hannigan's real destination is Havana, where he has arranged a meeting with a band of Cuban revolutionaries.  After an eventful night--in which Hannigan shoots a man---Sam returns to Key West, completely determined to avoid any future contact with his lawbreaking passenger.

However, when the mortgage on The Lucy M is bought by Hannigan, Sam has no choice but to do the man's bidding.  Behind on his payments, Sam finds his boat in foreclosure, and the only way he will be able to get her back is to deliver Hannigan---and the guns he is supplying the revolutionaries---to Cuba...something he absolutely does not want to do.

Will this man, who doesn't have it in him to go bad, go bad after all?  How it all plays out is the balance of the film.



As stated in my review for The Breaking Point, I don't care for the Bogey/Bacall version of To Have and Have Not at all, so for that reason, I very nearly didn't even give the other two adaptions a try.  Wow, would I have been missing out!  The Breaking Point usurped Dust Be My Destiny's status as my favorite John Garfield film, and The Gun Runners has become my favorite Audie Murphy film.  I completely adore Audie in this film.  Besides loving his character, I am in love with his look.  In his early 30's here, his face has matured from his earlier Westerns, and he is looking incredibly handsome here.  The storyline is interesting and exciting, and the playful, romantic interaction between Murphy and his wife is very sweet.  (The same playful interaction occurred between John Garfield and wife Phyllis Thaxter in The Breaking Point, and I quite enjoyed it there as well.)

The Gun Runners is out on DVD, plus it is available in its entirety on YouTube and through instant viewing on Net Flix .  If you are a fan of Audie Murphy, you will definitely want to see this.  Also, if you've read the Hemingway novel, you might want to catch this and see how it compares.

Happy viewing!!


NOTE:  Repeated viewings of this film have taken it from 4-star to 5-star status for me, and I have updated and expanded this review on June 12, 2013 (HERE).

The Breaking Point (5 stars)

Ta Da!!  I have a new favorite John Garfield movie!!  From 1950, comes The Breaking Point---the second adaption of Ernest Hemingway's To Have and Have Not.  Said to be more faithful to Mr. Hemingway's story than the Humphrey Bogart/Lauren Bacall film of 1944, The Breaking Point, directed by Michael Curtiz, stars Mr. Garfield---in his next to last film appearance---and Patricia Neal, with Phyllis Thaxter, Wallace Ford, and Juano Hernandez taking on supporting roles.

With his dream of operating a fleet of fishing boats not working out as he had hoped, family man Harry Morgan (Garfield) is having trouble making ends meet.  Instead of a fleet of boats, the former Navy man owns only one boat, which he charters for fishing excursions; with only one craft, and a wife and two young daughters to support, Harry is heavily weighed down with financial burdens.  Although his wife, Lucy (Phyllis Thaxter), suggests that Harry take an agricultural job at her father's ranch, he refuses to do so and is more determined than ever to make a go of things on the sea.

Telling Lucy everything will work out, Harry sets out on an excursion to Mexico with a man named Hannigan and his mistress, Leona Charles (Patricia Neal).

Upon reaching their destination, Harry asks for his payment; although Hannigan promises to pay as soon as the banks open in the morning, he, in fact, skips out on both Harry and Leona.    Left high and dry in Mexico, and needing cash for the return trip, Harry---an honest man, with an honest boat---accepts an illegal job...that of smuggling eight Chinese passengers into the States.  Things don't go as planned, though, and Harry is double-crossed, which leads to a killing and the disembarking of the passengers.

With the Coast Guard alerted to the illegal activity, when Harry returns home, his boat is impounded, then later repossessed for lack of payment. But the loss of his boat and the ongoing financial struggles aren't Harry's only problems---Leona, who has stayed on in Newport, has begun putting the moves on him, and Lucy, knowing a woman was part of the Mexican excursion, is jealous.  Additionally, the shady attorney (Wallace Ford) who arranged the transportation of the illegals is pressuring Harry into taking another job--one he just might take after his pride is hurt when Lucy takes on work to support the family.  How it all plays out is the balance of the film.

As always, Mr. Garfield gives a superb performance.  Really, he was completely perfect and totally wonderful in this role...I also really enjoyed the opportunity of seeing a playfully romantic side of him as his character interacted with his wife

and a paternal side as he interacted with his daughters.

While I adore Mr. Garfield in his chip-on-the-shoulder, cynical man roles and think he played them all brilliantly, every now and then it's nice to see a bit of a softer side.  Adding to the slightly more vulnerable side of his character was how incredibly handsome he was at this point in his career.  He aged extremely well, and I think he is even better looking here at 37 than he was when he began his film career at 25.  The ever-so-slight lines in his face give him a gorgeous maturity,

and the captain's cap he wore for much of the film only added to his appeal.

I will watch this film over and over again simply for the eye candy I found him to be!!

The supporting cast of the film was really wonderful as well.  Phyllis Thaxter gave an excellent performance as Harry's wife, and the chemistry between her and Garfield was great.  Patricia Neal (who I absolutely do not like) played her part perfectly as well.  Though I don't care for her, she was really very much a supporting player, so I only had to take her in small doses.  Plus, I was thrilled to pieces that Garfield's character didn't succumb to an extra-marital affair with her!!  Juano Hernandez, who portrayed Harry's friend and first mate, was quite good in his role as well.  And, oh, that final scene, which features Hernandez's character's son is a heartbreaker!

To be honest, I must say that I put off watching this movie because I knew it was based on To Have and Have Not and I really don't care for the Bogart/Bacall film of the same name.  (Dare I say that?)  For me, it's a 2-star film, so I wasn't sure I wanted to try this one; however, in the interest of finding some new-to-me Garfield films in honor of his birthday, I decided to "bite the bullet" and watch this one.  I am so glad I did, because I totally love it!!  In fact, with my viewing of this movie, Dust Be My Destiny has lost its status as my favorite Garfield film; though I still love that sweet film (which I reviewed HERE), I love The Breaking Point even more.  Incidentally, the Hemingway novel also inspired a 1958 remake as well.  Starring Audie Murphy in the lead role, the film is called The Gun Runners.  Since I quite like Mr. Murphy, I intend to watch that one at some point in the future.

This film is out on DVD, so I hope you are able to track it down.  Definitely, if you are a John Garfield admirer (as I am), you will want to see this.  Also, if you are a Hemingway fan, since this adaption was the truest to his story, you may want to take a look at this.  Or if you love the Bogey and Bacall version, you might want to check this one out to see how it compares.

Happy viewing!!

Band of Angels (3 stars)

Band of Angels, from 1957, is a Civil War-era romantic drama starring Clark Gable and Yvonne DeCarlo.  Based on the Robert Penn Warren novel of the same name, this Raoul Walsh-directed film features Sidney Poitier and Efrem Zimbalist, Jr. in supporting roles.  Having never seen this film before, I decided it was the perfect addition to my Clark Gable birthday month celebration.  Given that it is based on the work of a Pulitzer Prize-winning novelist, has a Civil War setting, stars Clark Gable, and boasts a fantastic director and a Max Steiner score, I had high hopes that Band of Angels might come close to the caliber of Gone with the Wind.  Alas, no...not even close.  While I found it to be an interesting, entertaining film, it didn't do for me what Gone with the Wind does.  I came away from the film only liking it...not loving it; hence, 3 stars.

Not knowing her mother was a slave, Amantha Starr (Yvonne DeCarlo) grows to adulthood believing that she is the privileged daughter of a plantation owner.  Upon her father's untimely death, however, Amantha is shocked to discover that not only is her father's estate completely in debt, but also that she---the daughter of a slave---is considered a slave herself and, therefore, part of the estate's personal property.  As such, she is taken against her will and shipped to New Orleans, where she is to be put on the auction block.

Though another man begins to "inspect" her, local plantation owner, Hamish Bond (Clark Gable) starts the bidding at $5,000, and with the opening bid that high, no one else bids on Amantha. After being told by Amantha that he might buy her, but will never own her, Hamish takes her to his home, where, instead of housing her with the other slaves, she is given a beautiful room in the main house. Thinking that there are strings attached to this treatment, Amantha tells Hamish she would rather go to the slave quarters than to be expected to be his woman.

Hamish, who has his own personal demons from which he's running, keeps his distance and never pushes himself on Amantha. One night during a storm, however, they do get together.

After their night together, Amantha's feelings toward Hamish change. So, too, do his feelings toward her, and he gives her her freedom. By then, loving Hamish, Amantha no longer wants to be free of him. However, when Hamish comes clean and tells her of his slave trader days, Amantha's love for him is put to the test. All this happens just as war is about to break out.

As I said, this film had great potential; however, for some reason which I cannot quite put my finger on, it fell short of my expectations.  I'm not sure why---probably because I was expecting it to be in the same league as Gone with the Wind, and quite honestly, there aren't many films which can compare with that masterpiece.  Gable's and DeCarlo's characters were likeable, and I found myself caring about them.  The musical score was beautiful...the storyline was interesting and historically accurate in many ways.  Clark, handsome and dashing as always, was extremely good in his role, and Miss DeCarlo was lovely and quite believable. With all these positive things going for it, I ought to have loved Band of Angels, but for some reason, I found myself only liking it.

Those who are Clark Gable, Yvonne DeCarlo, Sidney Poitier, or Civil War enthusiasts will probably enjoy seeing this film.  It's definitely entertaining and interesting...just don't expect it to measure up to Gone with the Wind.  The film is out on DVD, so it ought to be fairly easy to track down.

Happy viewing!!

Cass Timberlane (3 stars)

Cass Timberlane, from 1947, is a romantic drama starring Spencer Tracy, Lana Turner, and Zachary Scott.  Based on the Sinclair Lewis novel of the same name, this is a film which had been on my radar for a few months.  As I have grown in appreciation for Lana Turner, I have been on the lookout for some of her lesser-known films, and this one sounded interesting to me, so I kept hoping TCM would air it...which they did earlier this month.

Widowed Cass Timberlane (Spencer Tracy) serves as a judge in a small Minnesota town. While Judge Timberlane hobnobs with the high-society folks in his town, he is very much a down-to-earth guy and even has friends "on the other side of the tracks."  One of those friends is Ginny (Lana Turner), a woman several years his junior, whose acquaintance he made when she appeared in his courtroom one day.  The friendship between Ginny and Cass (who is nicknamed Tim by Ginny) soon blossoms into romance.

Despite her initial concerns about their societal differences, Ginny agrees to marry the judge.  Of course, the majority of his high-society friends have a problem with Ginny's lack of breeding, but his friend Brad Criley(Zachary Scott) supports him 100%.

Though Tim lavishes all the love in the world on Ginny, she soon finds herself bored with their small-town life and yearning for excitement and action.  Brad, too, desires that kind of life, and before long, he and Ginny find themselves developing feelings for one another.   Will Ginny leave Tim and seek out a more glamourous life with Brad?  For that matter, does Brad---a playboy---have more than a passing interest in Ginny?  How it all plays out is the balance of the film.

While this is not a spectacular film, I enjoyed it very much.  I found Spencer Tracy and Lana Turner to be a delightful couple.  I thought they had great chemistry together; however, my daughter---who watched the film with me---did not.  It's funny how two people can look at the exact same thing and come away with totally different perceptions.  The film has great lessons about integrity, forgiveness, and the sacredness of marriage.  It is very definitely a solid, 3-star movie, which I highly recommend.

The film is out on DVD, so I think it ought to be fairly easy to track down.  Happy viewing!!