IMDb > Kings Row (1942)
Kings Row
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Kings Row (1942) More at IMDbPro »

Photos (See all 7 | slideshow) Videos (see all 3)
Kings Row -- In October of 2001, right as we were finishing up "Closed", we decided to drag our gear outside, borrow a few speakers, and invite a few of our closest friends out to hear us play some of our favorite songs.
Kings Row -- A great character steps out of a great book in this trailer

Overview

User Rating:
7.8/10   2,737 votes »
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Up 718% in popularity this week. See why on IMDbPro.
Director:
Writers:
Casey Robinson (screen play)
Henry Bellamann (from the novel by)
Contact:
View company contact information for Kings Row on IMDbPro.
Release Date:
18 April 1942 (USA) See more »
Genre:
Tagline:
Perfect Players . . . in the 4 Star Best-Seller Story now becomes your Top Screen Triumph! . . . in Kings Row See more »
Plot:
The dark side and hypocrisy of provincial American life is seen through the eyes of five children as they grow to adulthood at the turn-of-the-century. Full summary » | Add synopsis »
Awards:
Nominated for 3 Oscars. See more »
NewsDesk:
(12 articles)
User Reviews:
Behind half closed curtains See more (62 total) »

Cast

  (in credits order) (verified as complete)

Ann Sheridan ... Randy Monaghan

Robert Cummings ... Parris Mitchell

Ronald Reagan ... Drake McHugh
Betty Field ... Cassandra Tower

Charles Coburn ... Dr. Henry Gordon

Claude Rains ... Dr. Alexander Tower

Judith Anderson ... Mrs. Harriet Gordon
Nancy Coleman ... Louise Gordon
Kaaren Verne ... Elise Sandor
Maria Ouspenskaya ... Madame von Eln

Harry Davenport ... Colonel Skeffington
Ernest Cossart ... Pa Monaghan
Ilka Grüning ... Anna (as Ilka Gruning)
Pat Moriarity ... Tod Monaghan
Minor Watson ... Sam Winters
Ludwig Stössel ... Professor Berdorff (as Ludwig Stossel)
Erwin Kalser ... Mr. Sandor
Egon Brecher ... Dr. Candell
Ann E. Todd ... Randy Monaghan - as a Girl (as Ann Todd)
Scotty Beckett ... Parris Mitchell - as a Boy
Douglas Croft ... Drake McHugh - as a Boy
Mary Thomas ... Cassandra Tower - as a Girl
Julie Warren ... Poppy Ross
Mary Scott ... Jinny Ross
rest of cast listed alphabetically:
Leah Baird ... Aunt Mamie (uncredited)
Walter Baldwin ... Deputy Constable (uncredited)
Henry Blair ... Willie (uncredited)
Joan Duvalle ... Louise Gordon - as a Girl (uncredited)
Eden Gray ... Mrs. Tower (uncredited)
Ludwig Hardt ... Porter (uncredited)
Herbert Heywood ... Arnold Kelly (uncredited)
Danny Jackson ... Benny Singer (uncredited)
Payne B. Johnson ... Boy in Party Scene (uncredited)
Fred Kelsey ... Bill Hockinson (uncredited)
Hank Mann ... Stable Keeper (uncredited)
Frank Mayo ... Conductor (uncredited)
Frank Milan ... Bank Teller (uncredited)
Jack Mower ... Freight Conductor (uncredited)
Hattie Noel ... Daisy - Gordon Family Maid (uncredited)
Emory Parnell ... Harley Davis (uncredited)
Bertha Powell ... Esther (uncredited)
Thomas W. Ross ... Patterson Lawes (uncredited)
Hermine Sterler ... Secretary (uncredited)
Elizabeth Valentine ... Nurse (uncredited)

Directed by
Sam Wood 
 
Writing credits
Casey Robinson (screen play)

Henry Bellamann (from the novel by)

Produced by
David Lewis .... associate producer
Hal B. Wallis .... executive producer
 
Original Music by
Erich Wolfgang Korngold (music by)
 
Cinematography by
James Wong Howe (director of photography)
 
Film Editing by
Ralph Dawson (film editor)
 
Production Design by
William Cameron Menzies (production designed by)
 
Art Direction by
Carl Jules Weyl 
 
Costume Design by
Orry-Kelly (gowns)
 
Makeup Department
Perc Westmore .... makeup artist
Helen Stinton .... hair stylist (uncredited)
Joe Stinton .... makeup (uncredited)
 
Production Management
Lonnie D'Orsa .... production manager (uncredited)
Frank Mattison .... unit manager (uncredited)
 
Second Unit Director or Assistant Director
Emmett Emerson .... second assistant director (uncredited)
Sherry Shourds .... assistant director (uncredited)
 
Art Department
G.W. Berntsen .... assistant props (uncredited)
George James Hopkins .... set dresser (uncredited)
Lyle B. Reifsnider .... props (uncredited)
 
Sound Department
Robert B. Lee .... sound
 
Special Effects by
Robert Burks .... special effects
 
Camera and Electrical Department
Wesley Anderson .... second camera (uncredited)
Clifford Hutchison .... best boy (uncredited)
Madison S. Lacy .... stills (uncredited)
William Reinhold .... assistant camera (uncredited)
Ed Rike .... gaffer (uncredited)
Warren Yaple .... grip (uncredited)
 
Costume and Wardrobe Department
Martha Giddings .... wardrobe woman (uncredited)
Eugene Joseff .... costume jeweller (uncredited)
Rydo Loshak .... wardrobe man (uncredited)
 
Music Department
Leo F. Forbstein .... musical director
Hugo Friedhofer .... orchestral arrangements
Ray Heindorf .... orchestrator (uncredited)
Bernhard Kaun .... orchestrator (uncredited)
Milan Roder .... orchestrator (uncredited)
 
Other crew
Eugene Busch .... script clerk (uncredited)
Don King .... publicist (uncredited)
 
Crew verified as complete


Production Companies
  • Warner Bros. (presents) (as Warner Bros. Pictures, Inc.) (A Warner Bros. First National Picture)
DistributorsOther Companies

Additional Details

Also Known As:
Runtime:
127 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (RCA Sound System)
Certification:
Argentina:Atp | Australia:G | Australia:PG (TV rating) | Canada:PG (video rating) | Finland:S | USA:Not Rated | USA:Approved (certificate #7337)

Did You Know?

Trivia:
John Garfield was considered for the role of Drake McHugh. Dennis Morgan, Eddie Albert, Robert Preston and Franchot Tone were also in the running.See more »
Goofs:
Continuity: When Parris is speaking to his instructor in Vienna, Dr. Kendell strikes a match to light his pipe. In the next shot, the match has disappeared and there is no evidence that he lit the pipe.See more »
Quotes:
Dr. Alexander Q. Tower:In the 13th Century, man was happier and more comfortable in his world than he is now. I'm speaking of psychic man and his relationship with his whole universe.
Parris Mitchell:I get it, sir. Everything was so simple then
Dr. Alexander Q. Tower:That was it, Parris. That was it. But in this modern complicated world, man breaks down under the strain, the bewilderment, disappointment, and disillusionment. He gets lost, goes crazy, commits suicide. I don't know what's going to happen to this world in the next hundred years or so, but I can guarantee you life isn't going to get any simpler. Worry and doubt bring on a bellyache. Mankind's building up the biggest psychic bellyache in history.
See more »
Movie Connections:
Soundtrack:
Piano Concerto No. 1 in E-flat major, S.124See more »

FAQ

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21 out of 32 people found the following review useful.
Behind half closed curtains, 13 September 2003
Author: jandesimpson from United Kingdom

An interesting TV documentary on the composer Korngold drew me back to "Kings Row" Although I don't find his scores as arresting as those of Raksin or as immediately identifiable as Rozsa or Herrmann (Korngold's seem to be in a rather amorphous Richard Strauss style), I love his music to "Kings Row" which has a glorious lyrical sweep particularly in the credit section overture. Another reason for watching "Kings Row" today, although a minor one, is to see the only star who has made it to the White House in his best role and to marvel at how he could have done it - get to the White House I mean. Let's face it, Ronald Reagan was no great shakes as an actor but he was certainly at his best here, delivering his great and almost prophetic line, "Where's the rest of me?" as a cry of despair that certainly convinces. However, Korngold and Reagan are not the main reasons that I sometimes stray back to this film. The fact is that I am a sucker for Golden Age Hollywood melodrama and I find "Kings Row" just about the darkest of the genre and certainly one of the most fascinating. I was once taken to task for calling it "the greatest of all bad films" and although I still stand by this, as it is after all pure hokum, I would rather watch it than a multitude of intrinsically finer films I could name. In a way it was ahead of its time dealing with come pretty awful things such as inherited insanity, terminal cancer and sadistic medical practices in a way you would think would be a turn-off in the commercial cinema. Someone will no doubt put me right but I cannot recall the word "cancer" being spoken in a film before "Rebecca" and "Kings Row". Admittedly you do not see any of the gruesome goings on, just the medicines and syringes beside the cancer victim's bed and those faces half glimpsed at curtained windows of an insane woman and a doctor about to cut into a patient's ulcerated leg without chloroform. Even the famous leg amputation scene takes place off-stage, cutting off (excuse the dreadful pun) just after the ubiquitous Hollywood call for "lots of hot water". None the less there is sufficient balance between the dreadful happenings and human goodness to turn the film into the popular success it undoubtedly was in the early '40s, the mutual love between the hero (Robert Cummings) and his grandmother, the devotion through times good and bad of Ann Sheridan to Ronald Reagan and the unassailable friendship between Cummings and Reagan. The passing of seasons and years is poetically conveyed and there is even one great moment of transformation when a boy crosses a stile and climbs down the other side a man. What an extraordinary mixed bag it all is! Even the dialogue comes up with a few surprises. In what other Hollywood film of that time would one character - Claude Rains as the good doctor - say to another - his pupil, "I seem to be in a vein of epigramatic sententiousness today"! I remember one of my sons discovering "Kings Row" in his early twenties and declaring it one of the most wonderful films he had ever seen. I countered this by showing him what I feel to be the greatest film ever about family intrigue set in turn of the century small town America, Wyler's "The Little Foxes". To my dismay he did not stay the course. It did not take me long to realise why. "Foxes" is all about adults scheming and tormenting one another. For my son there was no point of identification. "Kings Row" on the other hand celebrates youthful camaraderie with liberal doses of the "youth-love-death" cocktail. It was no surprise that he went on to love "Dead Poets Society" but has expressed no wish to attempt "The Little Foxes" again.

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