Reviews by fernando

The Smiths lack presence to become the narrative chain. The cameos by the stars eat the film; too monochord,specially the musical.

Just an approximation, the copy is badly rescued, a lot of scenes and connecting shots are missing. Too many archive marerial that seems more a light rtrip to spain than a deep and modern look in Cervantes.

Shearer is great, silent or talkative, as is here. Too long sequences of reiterative dialogue, but actors made them palatable. March is better when angrier, and Howard when gayer.

Not sure why I dislike it: maybe because it has a lubitschean premise, but it is serious in its appraisal of zarist nobility. Boyer and Claudette sparkles for nothing, Isabel Jeans is miscast in a role for a more mature actress.

Big surprise. delicat et potente a la fois. Just Isabelle approaching, tiny and fragile, in the hospital aisle, is worth the film. You see a simple romance turning in a tragedy.

I love the naiveté of this film because it touches everything (suicide, alcohol, gossio, stupidity of patriotism and war) with such lightness and tenderness. Scott is too old for her role, but guides Holden ok.

A pitty Cline is a poor director and the argument is mediocre; but Fileds ant the cast is excellent (Merkel, Ralph,and especially Pangborn), great details on alcohol and the beligerant daughter.

Small film, small argument. It's not noir because direction and lightning are too square; and the killing of the mayor Hinds in the hands of the false heroe is too much too take it seriously. Heflin is always ok

Eloquent but delicate; little gestures, strong speech softly rendered,it takes time (ante the entrance of Ruth Gordon) to catch that themes of the play and film are the doubt (almost rejection) of ambition of power, and some sense of doom and fatality.

So well narrated, so equilibrated, so harmonious, this is 1930's prewar "Little women" plus John Garfield. Rains excellent as grumpy perfectionist father. A pkitty that the Lané's are just regular actresses.