Mary, a poor farm girl, meets Tim just as word comes that war has been declared. Tim enlists in the army and goes to the battlefields of Europe, where he is wounded and loses the use of his... See full summary »
Mary, a poor farm girl, meets Tim just as word comes that war has been declared. Tim enlists in the army and goes to the battlefields of Europe, where he is wounded and loses the use of his legs. Home again, Tim is visited by Mary, and they are powerfully attracted to each other; but his physical handicap prevents him from declaring his love for her. Deeper complications set in when Martin, Tim's former sergeant and a bully, takes a shine to Mary. Written by
Dan Navarro <firstname.lastname@example.org>
According to the New York Times, the sound version of this movie was "partly silent and partly talking, being divided about equally into the two molds." Sound effects were scattered throughout the picture, including a phonograph record and the noise of a train's departure. See more »
I have said here and elsewhere that in their collaborations it was Gaynor who carried Farrell, a competent actor who would have had a decent career based on his looks and talent rather than genius: think Richard Arlen. It was the teaming with Gaynor that made him, for a while anyway, a star.
Or so I thought until I saw this movie. In this one, sitting in a wheelchair, scrubbing Gaynor's hair ("Why, Baa-baa! You're a blond!"), and later, Gaynor lets him carry the scenes, and he does it: aggressive, funny, dynamic, angry and thunderstruck.
There are the usual Borzage touches, including the surrealistic farmhouse -- attributed to the Murnau influence, but really, Borzage was going that way already. It had everything to do with his mysticism, I think. His impressionistic sets helped create a private world where miracles could happen. Or maybe make it apparent.
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