Mary Rutledge arrives from the east, finds her fiance dead, and goes to work at the roulette wheel of Louis Charnalis' Bella Donna, a rowdy gambling house in San Francisco in the 1850s. She... See full summary »
Edward G. Robinson,
The story of trench life during World War I through the lives of a French regiment. As men are killed and replaced jaunty Lt. Denet becomes more and more somber. His rival for the affection of nurse Monique is Capt. La Roche.
In 1884 lumberman Barney Glasgow leaves his true love, saloon singer Lotta Morgan, to marry Emma Louise, his boss's daughter. His buddy Swan Bostrom marries Lotta instead. Barney becomes a lumber magnate by stripping the Wisconsin forests, without re-planting. After 23 years, Barney finally visits Swan. Lotta has died, but Barney is smitten by their daughter Lotta Bostrom, who looks almost like her mother. His lavish attentions to Lotta create gossip and a rivalry between Barney and his son Richard.Written by
During the early montage showing the lumber process, fluorescent lights are seen on the ceiling of a workshop. While they had just become commercially available when the film was made, this scene takes place in 1884, decades before their refinement. See more »
When Frances Farmer was a drama student at the University of Washington she won a scholarship to visit Russia and watch the Moscow Art Theater headed by the great actor and director, Konstantin Stanislavski. When that Russian company first came to tour the United States in the 1920s, the truthfulness and expressivity of the acting so impressed many of America's best young actors that they eventually formed The Group Theater (1931-1940),modeling their ensemble work on it. In 1937 The Group Theater invited Frances Farmer, a non-member of the company, to play the female lead in Clifford Odets' new play "Golden Boy." At the time it was thought by many that the sole reason for the invitation was because Farmer was a beautiful movie star whose presence would boost box office. Today anyone who sees her remarkable work in the dual roles of Lotta in "Come and Get It" (1936) will recognize that not only was she dazzling beautiful, she was also dazzling real and painfully truthful --a true actress in the Stanislavski tradition. No wonder Howard Hawks said she was the best actress he had ever worked with in his long career.
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