The adventurous Lady Edwina Esketh travels to the princely state of Ranchipur in India with her husband, Lord Albert Esketh, who is there to purchase some of the Maharajah's horses. She's ... See full summary »
Tyrone Power is a pilots' pilot, but he doesn't believe in anything beyond his own abilities. He gets into trouble by flying a new fighter directly to Canada instead of to New York and ... See full summary »
The ambitious Stanton "Stan" Carlisle works in a sideshow as carny and assistant of the mentalist Zeena Krumbein, who is married with the alcoholic Pete. The couple had developed a secret ... See full summary »
Aristocratic Prudence Cathaway shocks her family by enlisting in the WAFs. After enlisting, a fellow WAF sets her up on a blind date with handsome, but moody Clive Briggs. Prudence learns Clive is a deserter, but still loves him and senses he'll eventually prove himself a patriot. Written by
Daniel Bubbeo <email@example.com>
[Listening to the German bombardment]
Don't worry. They're not going to waste bombs on a WAAF camp.
My girl, don't you realize that a big bomb costs a thousand pounds? We could go around the world on the price of one bomb!
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Radiant Fontaine and handsome Power caught in wartime romance...
THIS ABOVE ALL succeeds as a romantic drama largely because of the two leading performances of TYRONE POWER and JOAN FONTAINE, both at their physical peak. Fontaine makes a radiant, spirited Prudence and Power has that sincere quality that makes Clive a real character.
On the debit side, it has the faults typical of many wartime films in the '40s--the propaganda attitude is full of flag-waving moments, such as Fontaine's monologue about England's brave fight for victory. Nevertheless, she gives one of her better performances as an aristocratic young British woman who enlists in the WAF, meets Power and quickly falls deeply in love. It's the romantic aspect of the tale that is a clear winner--but the preachy elements in the screenplay do considerable harm in dulling its merits as a motion picture.
The wartime scenes of bombings and air raids is extremely well handled, the B&W photography is excellent, but Alfred Newman's syrupy score used throughout never gets a chance to rest.
Power and Fontaine make a handsome couple and the cast includes Thomas Mitchell, always a welcome character actor, as a caring friend.
Anatole Litvak's direction is occasionally striking but this director has done much more dramatic and serious work (such as SORRY, WRONG NUMBER and THE SNAKE PIT) with greater effect.
It ends up being only mildly satisfying, mainly because of the chemistry of the two stars.
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