When a problematic writer (Gary Cooper) moves back to his country home with his very city oriented wife (Helen Vinson), he falls in love with the innocent Polish girl (Anna Sten) who lives next door. But her father has already promised her hands in marriage to another farmer (Ralph Bellamy), and when problems erupt between Cooper and Vinson, he finds himself falling in love with Sten and she longs to get out of this arranged marriage. But an agreement in the old world is an agreement, and any chance of getting what they wish could lead to tragedy.
This very sweet and simple tale has all the elements for great drama, but somehow it never really rises to the heights which it is trying to attain. The leads are young and attractive, and the plot moves briskly, but even with excellent production design and direction by the masterful King Vidor, it still lacks that magic that could have made it explode into something special. I think that occurs because there really is no chemistry between Cooper and Sten, and their unsympathetic partners (Vinson and Bellamy) are not really fleshed out as characters. It also gives the impression that poor European immigrants were lead by an uncompassionate papa and a quietly dignified mama who always suffered in silence. In these roles, Sig Ruman and Esther Dale seem more like stereotypes than real people. Walter Brennan adds some zest to a few scenes as another local, but the end result is a drama that seems like something Lillian Gish may have starred in during the silent era.
This very sweet and simple tale has all the elements for great drama, but somehow it never really rises to the heights which it is trying to attain. The leads are young and attractive, and the plot moves briskly, but even with excellent production design and direction by the masterful King Vidor, it still lacks that magic that could have made it explode into something special. I think that occurs because there really is no chemistry between Cooper and Sten, and their unsympathetic partners (Vinson and Bellamy) are not really fleshed out as characters. It also gives the impression that poor European immigrants were lead by an uncompassionate papa and a quietly dignified mama who always suffered in silence. In these roles, Sig Ruman and Esther Dale seem more like stereotypes than real people. Walter Brennan adds some zest to a few scenes as another local, but the end result is a drama that seems like something Lillian Gish may have starred in during the silent era.