Gary Cooper's second all-talking picture is a bit of a letdown after "The Virginian", but all the same it is nowhere near the turkey that contemporary critics seem to suggest. The director has obviously been hampered by early sound recording requirements: Enclosed in a glass booth, the camera not only restricts movement but imparts a soft focus effect to the lighting. Director, Frank Tuttle, has been forced to rely on extremely long and largely static takes. Nevertheless, he has managed to break up many of the scenes, and has even used reverse angles once or twice. However, beyond the montage of stock footage with which the movie opens (and which, of course, is obviously silent material), most modern audiences will probably not find the film particularly dated. Fortunately, as the movie is a period piece, no- one will take exception to the costumes.
Like many early sound films, there is too much dialogue and too many sound effects simply for sake of sound effects. Fortunately, there is also a bit of action and even some wryly amusing moments as Cooper tries desperately to get himself arrested, but fails with every stratagem. Another plus, is that Tuttle (or his producer) have wisely used music throughout, and not confined it to the opening and closing credits as with many other early sound movies. In fact, they even continue the credit title music throughout the opening montage. This would seem to be an obvious course of action, but you would be amazed how many early sound films didn't do this, but ground away in silence until someone spoke.
As for the acting, Cooper, as you would expect, gives an able portrayal and Miss Brian makes a spirited heroine. Connoisseurs will also also relish an almost unrecognizable Virginia Bruce, although she has only a single scene. The movie also offers a rare opportunity to see Morgan Farley, who shares a couple of scenes with Cooper early on in the action. Guy Oliver certainly looks remarkably like Grant, but he has only two scenes – and they are not particularly relevant to the plot. Phillips Holmes seems miscast as a jealous lover, but William Le Maire delivers a confidently natural portrayal of the duty-shirking sentry. Elda Voelkel makes an agreeable confidante for the heroine, while James Neill is absolutely perfect as the epitome of Southern hospitality.
Production values, whilst making use of stock footage, are of average standard. Photography, sets and costumes are nevertheless attractive.
Like many early sound films, there is too much dialogue and too many sound effects simply for sake of sound effects. Fortunately, there is also a bit of action and even some wryly amusing moments as Cooper tries desperately to get himself arrested, but fails with every stratagem. Another plus, is that Tuttle (or his producer) have wisely used music throughout, and not confined it to the opening and closing credits as with many other early sound movies. In fact, they even continue the credit title music throughout the opening montage. This would seem to be an obvious course of action, but you would be amazed how many early sound films didn't do this, but ground away in silence until someone spoke.
As for the acting, Cooper, as you would expect, gives an able portrayal and Miss Brian makes a spirited heroine. Connoisseurs will also also relish an almost unrecognizable Virginia Bruce, although she has only a single scene. The movie also offers a rare opportunity to see Morgan Farley, who shares a couple of scenes with Cooper early on in the action. Guy Oliver certainly looks remarkably like Grant, but he has only two scenes – and they are not particularly relevant to the plot. Phillips Holmes seems miscast as a jealous lover, but William Le Maire delivers a confidently natural portrayal of the duty-shirking sentry. Elda Voelkel makes an agreeable confidante for the heroine, while James Neill is absolutely perfect as the epitome of Southern hospitality.
Production values, whilst making use of stock footage, are of average standard. Photography, sets and costumes are nevertheless attractive.