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
Samuel Goldwyn paid $150,000 for the film rights to the novel by Edna Ferber. See more »
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 »
COME AND GET IT has a very strange cast. Having the reliable and talented supporting actor, Edward Arnold, in the lead is strange--especially since this rotund and rather doughy guy is cast as, believe it or not, a lumberjack when the film begins! Seeing him supposedly fight and beat up tough guys seemed pretty funny--especially since Arnold looked as if he'd have had a hard time beating up Frances Farmer--let alone burly lumbermen!! Additionally, having him play a very flawed hero who has a penchant for a very young lady (Frances Farmer) make it an unusual film.
The film begins with Arnold being made the foreman of a logging company. However, his ambition is huge and he immediately has his sights set on running the entire company. So, to do so he agrees to marry the boss' daughter even though he could care less about her. Additionally, he'd just fallen in love with a spunky saloon singer (Frances Farmer--in a dual role). Regardless, his ambition is primary and he dumps farmer on his pal, played by Walter Brennan (who received an Oscar for his performance as a nice Swedish guy).
Years pass. You see that Arnold's wife is a bit of a cold fish, though they did have some kids and they now own the company. Arnold just happens to visit his old pal Brennan and finds that through the magic of Hollywood clichés, Brennan's daughter (played by Farmer again) is the spitting image of her deceased mother. Arnold is an old lecher and takes her under his wing--with the intention of recreating the relationship he'd had with her mother. When his oldest son (Joel McCrea) finds out, he goes to confront the lady but falls for her instead. Naturally, this sets the son and hard-driven father against each other.
Considering that this is based on an Edna Ferber novel, it isn't surprising that the film is about a man building an empire as well as infidelity--recurring themes I've noticed in several of her other films that were filmed during the era (such as CIMARRON, GIANT, SHOWBOAT and SO BIG). As a result, the film has a big and rather sweeping quality about it but is also a study of a hard-driven man who is deeply flawed.
Overall, the movie is exactly what you'd expect from such a film--good acting, big scope and a lot of romantic tension. Nothing extraordinary here, but it's enjoyable and competently made. I can't, however, understand how Brennan got an Oscar, as this was far from one of his best performances. Perhaps it was a slow year.
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