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Had the opportunity to view this film on TV, which was shown in the early AM hours and found it very interesting for a WWII. Clark Gable gave a great performance, despite the fact, that in real life he lost the soul mate of his life and managed to show his great ability as an actor in playing the part of Lana Turner's lover. This was sort of a pick me up for audiences during the war years and having two men after one woman was a different twist. Robert Sterling gave a great supporting role as a guy who was also in love with poor Lana Turner and managed to hold his own against Clark Gable. This is truly a great 1942 Classic and a great picture with Turner & Gable at their very best. Enjoy.
With the title this film has, I was expecting the Noel Coward classic
song to be somewhere in the background. Might have helped this film
quite a lot.
It's not a bad film, but it's quite a let down from Honky Tonk which was the first Clark Gable-Lana Turner combination which incidentally is my favorite Clark Gable role. It would be another six years before Gable and Turner would be paired again and in this one, Homecoming, it was Turner's picture all the way. It's my favorite Lana Turner picture.
In Somewhere I'll Find You, brothers Gable and Robert Sterling are reporters who both fall for female reporter Lana Turner. Gable keeps trying to convince Sterling that Turner's not the girl for him, but he's quite insincere in saying he doesn't have ulterior motives.
Midway through the film the action shifts from New York City to the Far East in the days just before Pearl Harbor and the last part of the film is a rousing bit of patriotic bravado, letting those people in the Orient know that the United States suffered a knockdown, but far from a knockout.
Gable's final scene, a radio broadcast from Bataan must have been especially poignant for him. This film was the only one he did between Carole Lombard's death and his discharge from military service. When he said 'more will come' he meant quite literally he was coming also. He had in fact already enlisted in the army and would be serving in the Air Corps as a tail-gunner.
Robert Sterling was being showcased in this film as well. He was MGM's junior version of Robert Taylor. Of course his greatest success was with his wife Anne Jeffreys on television in Topper.
Patricia Dane has a small, but telling role as a girl Gable picks up on the rebound from Turner. She should have had a much bigger career than she did. In the battle scene with the Japanese on the beach, small roles were given to future MGM stalwart players Van Johnson and Keenan Wynn.
Somewhere I'll Find You is not as good as Honky Tonk or Homecoming, but it's still a well crafted piece of entertainment.
This is a 'you hadda be there' picture. In 1942 this would have been
one to see: the re-teaming of Clark Gable and Lana Turner after their
success in HONKY TONK and Gable's first picture to be released after
the death of his wife Carole Lombard. It was also his last picture
before enlisting, so all stateside moviegoers knew it would be their
final Gable film for the duration of WWII. And since her elopement and
subsequent divorce from Artie Shaw in 1940, Turner was an ongoing
tabloid headline. I guess with so many surefire elements, MGM didn't
think it had to make a good movie too.
This is a 'love' triangle between three journalists, unfolding just before and just after Pearl Harbor. But since Gable and Turner make up two of the three points, there's no doubt about who will wind up with the girl. Yet we must suffer many contrived scenes during which two parts of the triangle argue tediously about the absent third. Finally, war breaks out and all debts are paid during the Japanese invasion of the Philippines,
Beginning with an ill-judged opening comic scene, right through to the rousing, patriotic ending in the midst of the noise and muck of war, nothing in this picture makes sense, fits together or works satisfyingly. It lurches clumsily from comedy to romance to comedy to action picture, as if each sequence was meant for a separate film. SOMEWHERE I'LL FIND YOU gives lie to the idea that movies from the classic period always had coherent stories.
Gable is reassuringly gruff and virile but he does seem less energetic and committed to the part than usual, and a couple of his closeups suggest the studio was exploiting his grief over Lombard, assuming that's what audiences would see in his face. Turner is livelier and her scenes with Gable are beautifully shot but never erotic. As Gable's younger brother, Robert Sterling is good-looking and lends able support and it isn't his fault that he and Gable never seem related. That was more Gable's job and he botched it. As a fast-talking B-girl, Patricia Dane is self-conscious but she makes such an impression in her two scenes and is so well-dressed and photographed that you wonder why you haven't seen more of her. You also wonder who she may have been seeing in the Front Office to get such a break. Best buddies (and rumored lovers) Van Johnson and Keenan Wynn have small parts near the end, and a few Asian actors are given sympathetic bits in the last quarter. But this movie squanders nearly every opportunity it had.
The criticism from the earlier commentators seems fairly valid, but most of it seemed less serious after seeing the film. It does end up as a completely different movie from what it began as, but so what? And yes, there was a large element of wartime propaganda involved in it, but again, so what? Many, if not most films of the era were similarly propagandistic. The performances of Clark Gable, and Lana Turner may not have been their best, but the charm, the charisma, that something that made them stars was on display in spite of the failings of the material. The whole plot about Turner's character's character (or lack thereof) was reasonably well-done. Imagine what it would take to do such a plot nowadays. Probably at least four sex scenes. Overall, an OK film, no great loss if you miss it.
Films like "Somewhere I'll Find You" are great little time capsules. We tend to forget that America has a well-grounded isolationist past even though George Bush represented a return to the philosophy before 9/11. Anyways, this films' primary function was to rev up the home-front and sell war bonds and profile Gable and Turner. It does both well. It accurately forecasts a longer war and an eventual victory. The love story was humorous. The gamesmanship within the threesome tended to get a bit irritating until I realized that it was simply a plot device to keep things moving along as if the War wasn't a sufficient motivator. The more powerful love story was the unstated one between Gable and Carole Lombard. Her death a few days into the filming must have had an unimaginable affect on Gable. I could detect nothing in his performance that measured that. This was not necessarily a good film but there is a small pleasure to be had in viewing it and paying some distant homage to 1942 America.
This is a war/romance drama like too many others; but the star studded cast keeps your interest. Clark Gable and Robert Sterling are brothers and both are war correspondents that fall in love with the same girl; and what a girl(Lana Turner).Turner gets the brothers attention while evacuating children in Indochina during WWII. The love scenes between Gable and Turner sizzle and make you forget the flimsy story line. Patricia Dane is quite an eye full herself. Also in the cast are Van Johnson, Frank Faylen, Keye Luke and Reginald Owen. If you like this; check out HOMECOMING(1948), another Gable/Turner war drama with more substance.
"Somwhere I'll Find You," released in 1942, was produced amid some
chaos. Lana Turner was fired after marrying Arte Shaw against Mayer's
wishes, and Esther Williams was given the role. However, Turner got the
role back. Filming was halted for five weeks due to Carole Lombard's
death. And then Gable wanted the title changed, because he said he
wouldn't walk back on the set with the film being called "Somewhere
I'll Find You." Supposedly the film's name was changed to "Red Light,"
probably just to get him through the rest of it.
Since seeing "Cass Timberlane," I've been giving some thought to MGM taking the easy way out with their scripts at times. I think this film is another example. The story is quite ordinary - two brothers (and two pretty unlikely brothers, Clark Gable and Robert Sterling with nearly a 17-year difference in their ages) both interested in the same woman (Turner). All three are reporters; the film takes place right before Pearl Harbor.
This would have been a much more interesting film with more focus on the situation in Hanoi, where the Turner character goes missing, and the efforts of the reporters to get the truth printed so that the average U.S. citizen would be aware of what was really happening. This is touched on, and actually, one of the scenes in the editor's office is very funny. Instead, we have Gable going after Turner because he thinks she's a tramp and bad for his brother, who wants to marry her. You can see the ending coming a mile away.
Keenan Wynn and Van Johnson have small parts in the film. By the end of the war, Johnson would be a very popular leading man at MGM, and Wynn would see bigger roles.
The very end of "Somewhere I'll Find You" is the pure propaganda found in films made during this period. It was an important part of film-making, and it's always interesting to see the U.S. atmosphere in these years. The world was going to change mightily, and so was Hollywood, with its major stars going off to war.
Gable's return would be the most difficult - he was older than some of the other classic stars, a grieving widower, and he would forever be in the shadow of Rhett Butler. When Turner cuts a deck of cards in the film, she gets the King. And that's what we get here, just before he goes into the service.
*** This review may contain spoilers ***
Two years after Hitchcock reported on Nazi's atrocities in the
pre-Pearl Harbor days of "Foreign Correspondent", MGM quickly put
together this war drama starring their newest "hot" team of Clark Gable
and Lana Turner, previously seen in the hit western "Honky Tonk".
Having even more chemistry than the advertised "TNT" pairing of Turner
with Robert Taylor in the same year's "Johnny Eager", Turner and Gable
were dynamic together. The film is notable historically for being the
film Gable was making at the time his wife Carole Lombard was killed in
a plane crash while selling war bonds.
Gable's a Foreign Correspondent back in New York after five years, and when he meets his brother's (Robert Sterling) fiancée (Turner), sparks fly immediately. Actually, soap suds do, because in this adorably comic scene, Turner is in the midst of taking a shower, and he has to verbally guess what she looks like by analyzing her wardrobe. They share a drink but nothing else as she's not about to betray his brother, even though it's clear it is Gable she fancies. But as a Foreign Correspondent herself, she is soon missing while helping orphaned children get across the border to China. The days of peace are over, as the film notes right after the credits conclude, it is 83 days until Christmas 1941 and about 66 until Pearl Harbor.
Once war is declared, all three foreign correspondents end up in the South Pacific where Sterling and Gable witness a battle lead by a young Van Johnson, with another newcomer, Keenan Wynn, right by his side. This leads into the memorable "Don't Forget Their Names" montage that recaptures the goings-on of the battle and an important war message that was Hollywood propaganda at its finest. Such familiar faces as Sara Haden, Reginald Owen and Lee Patrick have memorable supporting roles, and there is also a delightfully funny battle between Gable and his newspaper boss (Charles Dingle). The combination of romance, comedy and war drama makes this a must, especially for film students studying World War II as seen through the eyes of Hollywood.
What a pleasant way to spend two hours when one can't sleep. I loved Lana Turner's face, a little baby fat and that water and soap look. Another thing I really liked was the dialog, even the jokes held up well, despite their 70 year span since having been written. I was surprised to come to this site and see how many of the comments were negative. I like to think myself intelligent, beyond the attraction of the quasi harlequin romance of the story, so I'm going to sum up my over exaggerated enjoyment of this film with the fact that I have yet to see either Honky Tonk or Homecoming. If I liked this one, I am sure I'll love the other two. :-)
*** This review may contain spoilers ***
There is just ponderous dialogue in this 1942 film.
There is an excellent beginning premise where Charles Dingle, who was so good as Bette Davis's suspicious brother in "The Little Foxes," portrays an appeasing editor. Gable really pulls the wool over his eyes.
From there on, the film goes steadily downhill. It becomes a rather monotonous story of the 2 reporters, the Davis Brothers- Gable and Robert Sterling who are in pursuit of fellow reporter Lana Turner. Even with the constant talking, it's obvious who Turner shall wind up with. Almost over an hour into the film, Pearl Harbor is finally bombed and as the film ends, Gable reports on what has occurred at Bataan.
There's one scene where Turner is evacuating children in Hanoi. They certainly could have made this more exciting. Instead, we have a very talky film with limited action. A major disappointment.
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