Surprisingly good.
Gail Russell is always wonderful and she's fine in this. She's one of the best. When you think how she died at such a young age from alcoholism, it's tragic. (For more details on her life, see the 12-minute documentary about her on the DVD release of Seven Men from Now.)
She's the main reason I went looking for this movie, and I wasn't disappointed.
Any movie with some of my favorite actors all working in the same scene is worth watching. Seeing John Hoyt, Henry Hull, and Gail Russell in several scenes together...a delight.
The movie's also got Ruth Warrick (the wife in Citizen Kane), Charlotte Greenwood, Dennis O'Keefe, Arthur Honeycutt, Clarence Muse, Harry Lauter, Davis Roberts, and Earle Hodgins in a tiny role (one line)--all of them among my favorites and all of them highly enjoyable.
The story's not bad and those performances are first rate.
One of the only drawbacks is a typical one of the times when this was made: the black characters are all subservient, but they were at least treated by the other characters and by the story itself with respect and they've got some depth of character to play.
The script gets a little preachy toward the end, laying in a message about a mismatched marriage, and it's a message we've already gotten in this story well before the ending.
One thing really stands out in the performances, something true to the era the story's set in, the late 1890s and early 1900s. People in those days held a lot back, they didn't just gush their emotions out. And the actors are subtle. They hold back a lot. The first scene between father and son (Hull and O'Keefe) is impressive. The joy at their reunion is there, but they keep it inside and don't make a show of it. Same with the relationship between the trainer and his daughter (Hoyt and Russell): restrained, but full of unspoken words and emotions. All the characters perform with the same restraint, the same modulation. The director, Joseph Newman, must've had a hand in that.
Satisfying family fare.
Gail Russell is always wonderful and she's fine in this. She's one of the best. When you think how she died at such a young age from alcoholism, it's tragic. (For more details on her life, see the 12-minute documentary about her on the DVD release of Seven Men from Now.)
She's the main reason I went looking for this movie, and I wasn't disappointed.
Any movie with some of my favorite actors all working in the same scene is worth watching. Seeing John Hoyt, Henry Hull, and Gail Russell in several scenes together...a delight.
The movie's also got Ruth Warrick (the wife in Citizen Kane), Charlotte Greenwood, Dennis O'Keefe, Arthur Honeycutt, Clarence Muse, Harry Lauter, Davis Roberts, and Earle Hodgins in a tiny role (one line)--all of them among my favorites and all of them highly enjoyable.
The story's not bad and those performances are first rate.
One of the only drawbacks is a typical one of the times when this was made: the black characters are all subservient, but they were at least treated by the other characters and by the story itself with respect and they've got some depth of character to play.
The script gets a little preachy toward the end, laying in a message about a mismatched marriage, and it's a message we've already gotten in this story well before the ending.
One thing really stands out in the performances, something true to the era the story's set in, the late 1890s and early 1900s. People in those days held a lot back, they didn't just gush their emotions out. And the actors are subtle. They hold back a lot. The first scene between father and son (Hull and O'Keefe) is impressive. The joy at their reunion is there, but they keep it inside and don't make a show of it. Same with the relationship between the trainer and his daughter (Hoyt and Russell): restrained, but full of unspoken words and emotions. All the characters perform with the same restraint, the same modulation. The director, Joseph Newman, must've had a hand in that.
Satisfying family fare.