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An Academy Awards Best Picture nominee, this is a very good film that, despite its occasional experimentation and evident striving for greatness, doesn't quite reach the mark it hopes to. Nonetheless, it's unmistakably high quality and remains very watchable, enduringly appealing, and, in places, impressive. The big glaring shortcomings are the experimental moments - which don't work and are distracting - and the fact that Miss Hayes is, much of the time, given over-ripe, unnaturally worded and stagy sounding dialogue to speak - and so much of the time, despite that she does give a fine, clearly talented performance, she does so in stage-performer mode and with "impress them with my craft" line delivery, rather than in the much more subtle and truly naturalistic way that's right for movie acting. I'm not faulting Miss Hayes' performance, instead am opining that she gives a stage star's version of subtle movie acting, rather than a movie actor's version thereof. For some reason, all the stagily worded dialogue was given only to Miss Hayes to speak. Other characters are given infinitely more real and believable sounding dialogue. Perhaps Paramount expressly wanted to capitalize on Miss Hayes' stature and deserved reputation as one of the greatest stage stars of her time, therefore ordered script writers to "pour it on thick" when it came to lines for her to speak. An additional shortcoming of this film, for me, has always been that I never have found Cooper and Hayes to seem like a credible couple; his chemistry with and towards her seems 100% natural and believable, though her interactions with him always feel, to me, like she's performing, rather than it being convincingly real life-like. I don't mean to sound like I'm faulting Miss Hayes, as she was, as we know, tremendously gifted. Her performance in this movie feels, to me, like it would have been spot-on on the stage. Another issue is that Miss Hayes has always struck me as miscast in this, as she seems neither remotely British nor the irresistible beauty that characters express to one another that she is. Very strong points of the movie are the cinematography (winner of the Best Cinematography Oscar), which is superb throughout, particularly throughout the impressive and memorable roughly four minutes exodus to Milan montage; it's outstanding. Too, the sets (nominated for the Best Art Direction Oscar) are marvelous. Also the performances by Cooper, Adolphe Menjou (as Cooper's surgeon best friend Rinaldi), Jack La Rue (as the priest), and Mary Philips (as Catherine's nurse best friend Fergie) are each perfect and wonderful. Definitely make sure that it's the beautiful near pristine KINO release of this film that you watch, and not one of the degraded, too often butchered, public domain releases. On the KINO version (which is 89 minutes in length), the picture and sound is near perfect, and you'll readily be able to fully appreciate the visual glory of this film. This is a movie that, despite my having the stated "issues" with it - and heretofore I failed to also mention its at times shameless ultra-melodrama (the letter-writing scene, or the final scene, anyone?) - I nonetheless always very much enjoy watching it, whenever I periodically do, and am always readily able to appreciate the things about it that are terrific. I consider this a very good film, and appreciate and enjoy it as such. I find myself feeling drawn to watch this again a time or two just about every year - and usually do. FYI: This review is also presented as a post on TMDb's **AFtA** message board, if wishing to comment/discuss.
Frank Borzage presents us here with quite an effectively abridged version of the Hemmingway story of wartime romance. "Frederic" (Gary Cooper) is an American soldier who finds himself in hospital being cared for by nurse "Catherine" (the almost porcelain-like Helen Hayes). Their's is quickly a love story that has to compete with the atrocities of the Great War as he and she are both transferred and it becomes harder for them to communicate and be together. "Frederic" isn't helped by the well meaning interventions of his captain "Rinaldi" (Adolphe Menjou) who ensures that their written correspondence is unanswered - but when "Frederic" learns that a baby is due and that "Catherine" is now in Switzerland, he must rush to her side - even if that means desertion. To be honest the production isn't the best and the lighting could be doing with some extra wattage, but there is a genuine sense of chemistry between the couple and of frustration as their romance blossoms despite the prevailing difficulties. I reckon it's the best cinematic adaptation of this frequently quite torrid story, and well worth a gander,
A Russian poet and his interpreter travel to Italy to research the life of an 18th-century composer.
Near a gray and unnamed city is the Zone, a place guarded by barbed wire and soldiers, and where the normal laws of physics are victim to frequent anomalies. A stalker guides two men into the Zone, specifically to an area in which deep-seated desires are granted.
The New York club scene of the 80s and 90s was a world like no other. Into this candy-colored, mirror ball playground stepped Michael Alig, a wannabe from nowhere special. Under the watchful eye of veteran club kid James St. James, Alig quickly rose to the top... and there was no place to go but down.
Based on Tommy Jaud's bestselling novel, this comedy focuses on a dispassionate clerk and his set-backs in life. 29-year-old Simon works in a phone shop, but his thoughts just circle around finding a new girl-friend after being left by his last one year ago. While his Croatian cleaner tries to procure him, his efforts to chat up women in clubs also fail. However, he finds the woman of his dreams (and mother of their future children) in his most hated coffee shop, although not having a clue how to win her heart...
In the 1970s, a young transgender woman called “Kitten” leaves her small Irish town for London in search of love, acceptance, and her long-lost mother.
Jean-Baptiste Grenouille, born in the stench of 18th century Paris, develops a superior olfactory sense, which he uses to create the world's finest perfumes. However, his work takes a dark turn as he tries to preserve scents in the search for the ultimate perfume.
In New York City in the days following the events of 9/11, Monty Brogan is a convicted drug dealer about to start a seven-year prison sentence, and his final hours of freedom are devoted to hanging out with his closest buddies and trying to prepare his girlfriend for his extended absence.
The lives of two lovelorn spouses from separate marriages, a registered sex offender, and a disgraced ex-police officer intersect as they struggle to resist their vulnerabilities and temptations.
On the way to meet with an independent artist in the South, newlywed art dealer Madeleine is convinced by her husband, George, that they should stop to meet his family in North Carolina. Madeleine's affluent lifestyle clashes with the family, but she befriends George's wide-eyed and pregnant sister-in-law, Ashley, who is nearing her due date. Through the family, Madeleine gains greater insight into George's character.
Young Scottish doctor, Nicholas Garrigan decides it's time for an adventure after he finishes his formal education, so he decides to try his luck in Uganda, and arrives during the downfall of President Obote. General Idi Amin comes to power and asks Garrigan to become his personal doctor.
Upon being informed that he is fatally ill with cancer, Max, who works at a used car store, steals money which his boss has gained through illegal means. When fleeing from the scene of the crime Max crashes his car. He is pulled unconscious from the destroyed vehicle by a homely young woman, Emma, who lives alone on a farm where Max decides to stay in order to hide from the police and his boss.