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In This Our Life (1942)

Approved | | Drama | 16 May 1942 (USA)
A young woman (Stanley Timberlake) dumps her fiancée (Craig Fleming) and runs off with her sister's (Roy Timberlake) husband (Peter Kingsmill). They marry, settle in Baltimore, and Stanley ... See full summary »

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Writers:

(screenplay), (novel)
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Cast

Complete credited cast:
...
...
Roy Timberlake
...
Craig Fleming
...
Peter Kingsmill
...
William Fitzroy
Frank Craven ...
Asa Timberlake
...
Lavinia Timberlake
...
Minerva Clay
Lee Patrick ...
Betty Wilmoth
Mary Servoss ...
Charlotte Fitzroy
Ernest Anderson ...
Parry Clay
William B. Davidson ...
Jim Purdy
Edward Fielding ...
Dr. Buchanan
...
Inspector
William Forrest ...
Forest Ranger
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Storyline

A young woman (Stanley Timberlake) dumps her fiancée (Craig Fleming) and runs off with her sister's (Roy Timberlake) husband (Peter Kingsmill). They marry, settle in Baltimore, and Stanley ultimately drives Peter to drink and suicide. Stanley returns home to Richmond only to learn that her sister Roy and old flame Craig have fallen in love and plan to marry. The jealous and selfish Stanley attempts to win back Craig's affections, but her true character is revealed when, rather than take the rap herself, she attempts to pin a hit and run accident on the young black clerk (Parry Clay) who works in Craig's law office. Written by Bonnie Barber <bonbar@mit.edu>

Plot Summary | Add Synopsis

Taglines:

A sensational novel throbs to life! The cast is one of Warner Bros. best - the picture is one of Warner Bros. biggest! See more »

Genres:

Drama

Certificate:

Approved | See all certifications »
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Details

Country:

Language:

Release Date:

16 May 1942 (USA)  »

Also Known As:

Nascida para o Mal  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Warner Bros. was named to the Honor Roll of Race Relations of 1942 because of its dignified portrayal of African-Americans in this film. However, scenes in which Ernest Anderson's character was treated in a friendly fashion were cut for showings in the South to avoid offending those viewers. The film was initially disapproved for export by the Office of Censorship in Washington, D.C., because it suggests that the Negro's testimony would be totally disregarded by the jury when it was disputed by a white person, which, in the South at the time and for long afterwards, was true. See more »

Quotes

Stanley Timberlake: Craig, have dinner we me somewhere tonight. Please. I've got a reason.
Craig Fleming: I don't think we better Stanley.
Stanley Timberlake: Why not? You're afraid aren't you? Afraid of yourself. Afraid of what you might feel if you let yourself go. Why don't you admit the truth Craig? You've never gotten over me and you never will. You'd like to put your arms around me right now, wouldn't you? You'd like to kiss me, wouldn't you?
See more »


Soundtracks

Java Jive
(uncredited)
Music by Ben Oakland
First tune played at The Shanty
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User Reviews

Dynamic Masterpiece!
13 June 2001 | by (United States) – See all my reviews

It kills me when some reviewers of this dynamic masterpiece mouth the same criticisms of Bette's detractors: that she overacts like heck and chews up the scenery. Bette is mainly responsible since she always attacked "In This Our life" and "Beyond the Forest" as "lousy movies." And people who've never even seen either one just go on parroting her opinion. Well, Bette was never the best judge of her work. "In this our Life" contains her most electrifying performance besides that of Rosa Moline in "Beyond the Forest." She brilliantly creates the portrait of a psychopathic Southern Belle. Her final scene with her lecherous uncle (Charles Coburn) is one of the most powerful scenes in movie history. I watched this on the big screen of the old Regency Theater here in Manhattan and the packed theater were simply galvanized by this sequence and everything else about In This Our life. What's especially memorable is the seedy, decaying house she and her sister (Olivia d'Havviland" live in. The introduction of the racist angle where Bette tries to blame her killing of a pedestrian on an innocent young black guy is still shocking. NO wonder it's gained such a strong following among modern black viewers. This is one of my all time favorite classics from Hollywood's golden age. Bette is the greatest and you'll never forget her here in one of her greatest performances. Just try to find any actress today who could do what she did in the final close-ups of her in the death car. Bravo Bette! And to director John Huston who let her do it her way.


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