Mary Rutledge arrives from the east, finds her fiance dead, and goes to work at the roulette wheel of Louis Charnalis' Bella Donna, a rowdy gambling house in San Francisco in the 1850s. She... See full summary »
Edward G. Robinson,
Carrie boards the train to Chicago with big ambitions. She gets a job stitching shoes and her sister's husband takes almost all of her pay for room and board. Then she injures a finger and ... See full summary »
Pretty Rae Smith and handsome Walter Saxel meet, fall in love and make plans to marry. Unfortunately, their marriage plans get sabotaged when a jealous beau makes Rae miss the ceremony. The... See full summary »
Young, naive Luisa Ginglebusher, who loves fairy tales, leaves the Budapest orphanage to become a movie usherette. Soon she befriends paternal waiter Detlaff and not so paternal Konrad, a meat-packing millionaire. Uninterested in Konrad's rich gifts, Luisa schemes to be a "good fairy" and divert some of this wealth to poor stranger Dr. Sporum. But it's not that simple... Written by
Rod Crawford <email@example.com>
On July 31, 1944, Deanna Durbin, Fredric March and June Lockhart acted in a 30-minute radio adaptation of the film, presented on the "Screen Guild Theatre" by CBS. Two-and-one-half years later, Miss Durbin starred in a musical remake of this picture, entitled I'll Be Yours (1947), which opened on February 2. See more »
[In an energetic telling of a fairy tale for the other orphans]
Wampa wampa, Wumpa wumpa, Eenie meenie minie mo; Sweet and faithful Rosalinda, Take me where I want to go.
See more »
The story of a naif who goes out into the world, skirts calamity (i.e. seduction, in the guise of Frank Morgan, no less), and finds true love (Herbert Marshall, who likewise should be better remembered--he'd a been a bigger star if he would have been five years younger when the talkies started in earnest). Of course, Sullavan the naif is the one who instructs the world weary cosmopolitans rather than vice-versi.
The script, being by Preston Sturges, is funny and witty and artfully plotted. Sullavan was a great actress/star of the '30's early '40's who unfortunately is mostly forgotten now. She has a quality, a sly subtle acidity that makes her different from other screwball heroines. She also had the knack of bringing out the tenderness in her male leads (James Stewart was never more suave, articulate, and keenly perceptive than opposite the funny cruel little egomaniac Sullavan in The Shop Around the Corner, which is a masterpiece, and she brought out the early best in her former husband, Henry Fonda, in The Moon's Our Home, which is another forgotten little gem). It's not so much she's vicious a la Bette Davis or the divine Barbara Stanwyck: she's too minutely picky, petty really in getting what she wants, too self-centeredly rational in getting her way for that. But, anyway, The Good Fairy has a younger softer Sullavan. The supporting cast is superior, too.
5 of 5 people found this review helpful.
Was this review helpful to you?