Despite the authentic period detail and a very well-staged, realistic earthquake scene that takes place late in this story of early San Francisco (but fails to wake up the sluggish plot), the tale itself is a weak one that gives neither BETTE DAVIS nor ERROL FLYNN very much chance to emote as their fans would like them to. Davis plays a loyal wife while Flynn is the family man who can't settle down. Both are professionally competent here, but seem to be fully aware of the script limitations imposed on their bland characters.
Nevertheless, it's nice to see a more restrained Davis playing a nice, normal woman for a change--but one would expect a few more sparks from their relationship than we get here. Their separation, after he goes off on a binge that takes him away for a four year period while he tries to find himself--and their ultimate reunion--is about all the plot has to offer in the quest for tracing the family history of three daughters who each experience their share of problems in choosing hasty marriages. Beulah Bondi and Henry Travers are their worried parents.
Bette and Errol have both given better performances in more detailed roles--and were fine a year later in their flashier costume roles as Elizabeth and Essex. This seems to be merely an attempt to work up some box-office interest in two of the studio's top stars while at the same time taking Flynn away from his swashbuckling roles. Then too, this might have been Jack Warner's promotional idea of working up audience interest in the two stars before presenting them in the lavish ELIZ. AND ESSEX the following year.
Unfortunately, all of the supporting roles are on the bland side except for Alan Hale, Sr. as a wealthy Irishman who marries Anita Louise, a lovely young thing who wants the security his wealth can provide. A plain looking Jane Bryan is totally wasted as the youngest sister who marries Dick Foran, both terminally bland in their respective roles. Donald Crisp is convincing as Flynn's loyal friend.
But whatever real interest the film has, it owes to the performances of Bette Davis and Errol Flynn who are able to give even this kind of weak material some substance and strength. Ian Hunter as Davis' understanding boss handles his meager assignment with customary charm and skill.
Negative note: Director Anatole Litvak should have toned down Lee Patrick's performance as an inquisitive chatterbox neighbor. Nice to see Laura Hope Crews (Aunt Pittypat from GWTW) as her fluttery mother.
Summing up: Whatever energy was put into this production, the end results are meager, even for Davis and Flynn fans.
Nevertheless, it's nice to see a more restrained Davis playing a nice, normal woman for a change--but one would expect a few more sparks from their relationship than we get here. Their separation, after he goes off on a binge that takes him away for a four year period while he tries to find himself--and their ultimate reunion--is about all the plot has to offer in the quest for tracing the family history of three daughters who each experience their share of problems in choosing hasty marriages. Beulah Bondi and Henry Travers are their worried parents.
Bette and Errol have both given better performances in more detailed roles--and were fine a year later in their flashier costume roles as Elizabeth and Essex. This seems to be merely an attempt to work up some box-office interest in two of the studio's top stars while at the same time taking Flynn away from his swashbuckling roles. Then too, this might have been Jack Warner's promotional idea of working up audience interest in the two stars before presenting them in the lavish ELIZ. AND ESSEX the following year.
Unfortunately, all of the supporting roles are on the bland side except for Alan Hale, Sr. as a wealthy Irishman who marries Anita Louise, a lovely young thing who wants the security his wealth can provide. A plain looking Jane Bryan is totally wasted as the youngest sister who marries Dick Foran, both terminally bland in their respective roles. Donald Crisp is convincing as Flynn's loyal friend.
But whatever real interest the film has, it owes to the performances of Bette Davis and Errol Flynn who are able to give even this kind of weak material some substance and strength. Ian Hunter as Davis' understanding boss handles his meager assignment with customary charm and skill.
Negative note: Director Anatole Litvak should have toned down Lee Patrick's performance as an inquisitive chatterbox neighbor. Nice to see Laura Hope Crews (Aunt Pittypat from GWTW) as her fluttery mother.
Summing up: Whatever energy was put into this production, the end results are meager, even for Davis and Flynn fans.