Sea-faring saga of two brothers (Robert Taylor, Stewart Granger) and the woman they both love. Set against South Pacific islands, this love triangle pits the good brother against the bad as... See full summary »
Robert Taylor and Eleanor Parker star as a Kentucky backwoodsman and the woman who will NOT let anything interfere with her plans to marry him in this humorous romantic adventure through the American Frontier of 1798.
In this sequel to "Knock On Any Door", the residents of a Chicago tenement building band together to insure that the son of Nick Romano does not follow in his father's footsteps...to the electric chair.
Based on Polly Adler's best-selling autobiography about her life in the Roaring Twenties as a legendary Madam. The movie follows Polly's life from an immigrant worker to becoming friend and... See full summary »
In June 1941, famed American symphony conductor John Meredith (Robert Taylor) is touring Soviet Russia with his manager Hank (Robert Benchley) when they go to a small rural town where famed... See full summary »
A Superior Film of Ideas From MGM; a Very Capable Drama
This is a very "glossy" film in some ways, but it is also filled with well-developed characters. And because they are all well-acted and clearly presented in a dual-stranded storyline, they become very contexted and hard-to-forget. The script is by Robert Ardrey adapted from Howard Swiggett's fine novel. This is a another postwar film like many others that talks about values, and the sort of place the US needs to become--or unfortunately seemed to be becoming. The main characters in this plot are involved with a major international firm; the head of this firm, ably played by Burl Ives, is trying to consummate a deal with a British firm's leaders headed by Cedric Hardwicke. He also has a scheme in mind to cheat his partners, which finally does not sit well with his heir-apparent, played quite intelligently and straightforwardly by Robert Taylor. Complicating the plot for Taylor is his growing regard for a refugee played beautifully by Elisabeth Mueller. An act of courage by Taylor finally resolves the plot nicely; the moral crisis of the film becomes its climax, which gives it unusual power. The cast is very good indeed, with Mueller, Hardwicke, Ben Wright, Richard Erdmann and others also turning in very fine work. The film is B/W as a drama should be, and its values are very fine, thanks to work by MGM's best--Edwin Willis, Sidney Guilaroof and costumer Helen Rose. Music is by Bronislau Kaper with the director, Henry Koster, doing a first-rate job in a film featuring many interior-scenes and little outdoor work. Films about business are one way thinkers have of examining what is right and wrong with the United States' citizens approaches to making their constitutional ideas about individualism work; this work, except for the religious connections of Taylor's father, in my judgment a needless addition, is honest. I cannot recommend this unexpected little gem too highly.
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