A priest (William Holden) arrives at a mission-post in China accompanied by a young native girl who has joined him along the way. His job is to relieve the existing priest (Clifton Webb), ... See full summary »
Pépé le Moko is a gangster from Paris that hides in Algier's Casbah. In the Casbah, he is safe and is able to elude the police's attempts to capture him. But he misses his freedom, after ... See full summary »
In 1923, in the province of Shinshu, the widow and simple worker of a silk factory Tsune Nonomiya (O-Tsune) decides to send her only son to Tokyo for having a better education. Thirteen ... See full summary »
Young Pud is orphaned and left in the care of his aged grandparents. The boy and his cantankerous old grandfather become inseparable friends. But Gramps is concerned for his grandson's ... See full summary »
Harold S. Bucquet
At a family reunion, the Cooper clan find that their parents' home is being foreclosed. "Temporarily," Ma moves in with son George's family, Pa with daughter Cora. But the parents are like sand in the gears of their middle-aged children's well regulated households. Can the old folks take matters into their own hands? Written by
Rod Crawford <firstname.lastname@example.org>
Paramount boss Adolph Zukor reportedly pressured Leo McCarey to alter the film's downbeat ending, but the director resisted, and his contract with the studio was not renewed. See more »
Position of George and Anita's hands change when talking about Rhoda getting her own apartment. See more »
Why don't you face facts, Grandma?
[Pats her hand]
When you're seventeen and the world's beautiful, facing facts is just as slick fun as dancing or going to partis, but when you're seventy... well, you don't care about dancing, you don't think about parties anymore, and about the only fun you have left is pretending that there ain't any facts to face, so would you mind if I just went on pretending?
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It took me a while to get into this one. It's kind of awkward and uncomfortable, but it turns out that's largely the point. The story is about an elderly married couple (Victor Moore and Beulah Bondi) who lose their house to the bank. None of their five children has enough room for both of them, so they end up breaking up, supposedly temporarily, to live in the homes of two of their children. Moore goes with his daughter (Minna Gombell) and Bondi goes with her son (Thomas Mitchell). Much of the movie focuses on Bondi living with her son's family (Fay Bainter is Mitchell's wife and Barbara Read his daughter). It's Hell for all of them. Bondi's old fashioned ways are annoying to the family. She herself feels out of place and confused, having lived with her husband for 50 years. Meanwhile, Moore is having just as awful a time at his daughter's place. The whole picture finds its way to one of the most satisfying and powerful final acts I've seen, where the old couple finally reunites. It's pretty much the first time in the film we see them spend a significant amount of time together, and these two people who seemed so awkward apart feel like a whole together. We see their love, we feel for what they've lost. It's absolutely gorgeous. The very end of the film is a killer. I've never quite seen a film like this (well, Tokyo Story is obviously in part based on this). On a rewatch, I think it may be a lot stronger, but I liked it a heck of a lot this time around.
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