A TV adaptation of John Steinbeck's novel. George and Lenny travel through the Depression-era west working at odd jobs, hoping to make enough money to buy their own farm. George must always... See full summary »
The hit Broadway production Of Mice and Men, filmed on stage in New York by National Theatre Live, comes to UK cinemas. Golden Globe® winner and Academy Award® nominee James Franco (127 ... See full summary »
Joel Marsh Garland,
Ron Cephas Jones
A timid British Army officer has quit and burns his last day summons to a war in Egypt. Calling him a coward, his girl friend and 3 officer friends give him a white feather. In redemption, he shadows his friends in war to save their lives.
C. Aubrey Smith
George Milton and Lennie Small are migrant workers in the 1930s Depression. Lennie is mentally disabled and George looks after him. While working as hands on a Western ranch, they dream of owning their own ranch and the opportunity may be available. Their current ranch is owned by a sadistic man who has a flirtatious wife.Written by
This film was first telecast in Los Angeles Sunday 11 July 1948 on KTLA (Channel 5), in Chicago Monday 6 December 1948 on WGN (Channel 9), in New York City Monday 1 February 1949 on WPIX (Channel 11), in Philadelphia Tuessday 5 July 1949 on WCAU (Channel 10), and in Cincinnati Monday 12 September 1949 on WCPO (Channel 7), as part of their series of three dozen Hal Roach feature film productions, originally theatrically released between 1931 and 1943, and now being syndicated for television broadcast by Regal Television Pictures. See more »
When bedding down for the night at the river, George's hands change position. See more »
You're goofy. But you're kind of a nice fella. Just like a big baby.
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The movie begins before the credits are shown. George and Lennie are fleeing a mob. They board a boxcar on a moving train, and as they close the door of the boxcar we see the main title already written on the door of the boxcar. See more »
The first comment given here shows an incredible lack of understanding of Steinbeck in his California period. Our Irish friend's acrid comments show he obviously doesn't like Steinbeck and that's his privilege. Now, having said that, I must say he's wrong. This film is excellent. Just that. The cast is wonderful and the story is a classic: the destruction of innocence by cruel reality (viz: the title of the story taken from a line from a Robert Burns's poem). And, while Steinbeck was not one to let a sentimental moment pass by, e.g, Lennie's Christ-like innocence, inappropriate super-human strength which inadvertently wreaks havoc resulting in his euthanasia with the same instrument as used for Curley's dog, these scenes are never maudlin. Too, for the serious Steinbeck fan, there's more, much more. This story, and the play, created at Steinbeck's most experimental period, is fraught with symbolism. There's the "big" guy, a victim of the "little" guy's vanity. Many are not aware that Steinbeck was small (5'3") and very self-conscious about his size. The cast is outstanding: Betty Field's careless and bored character, Mae contrasts with the mighty innocence of Chaney's Lennie. There are the solid characters of Bickford's Slim, Meredith's George and Bohnen's Candy; Steele was at his best as the vain, pugnacious Curley; Veteran character actor, Noah Berry Jr. as Whit adds another element of sympathy. This is one of our American classic films. We invented and developed this genre of art and this film must stand as one of its finest examples.
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