The effervescent Greer Carson continued her Oscar reign with this forgotten epic like spectacle, an example of what happens when the values of one generation struggling to rise do not mean squat to the next generation who take the silver spoon they were fed with for granted. Garson goes from anxious young lady to beloved matriarch, struggling for years to contribute to society with the ambitious Walter Pidgeon, later finding that the ungrateful dynasty they create doesn't share the values she's tried to instill in them. They are neurotic, greedy, entitled, drunkards and even suicidal, and as an aging grandmother, reaches out to the last one she thinks she can influence in creating a life of meaning, not waste. A brilliant all star cast and the MGM gloss helps this become one of the great films of the 1940's and a film I wish in spite of its popularity at the time was more well known.
Like the following year's "The Valley of Decision", this is a family soap opera where each scandal and scheme makes you want to know more about each of these characters. Garson is breathtakingly beautiful, aging from late teens to her 80's, another example that behind every strong and ethical little old lady was once a face of such loveliness that wrinkles seem impossible until the ravages of time take over. Pidgeon has minimal screen time, just part of the ensemble supporting Greer, but as their fourth pairing, it is as important as those and he is vital to how the story builds.
Underneath the titles, two fascinating supporting players deliver characterizations that are thrilling in every little detail. As Pidgeon s former mistress, Agnes Moorehead delivers her most surprising performance, an aging French beauty who knows what she has become and willingly passes the baton to Garson, training her in the nuances of becoming a great lady. She deservedly received an Oscar nomination for this part, and you will remember her long after this film is over. She would do her final acting work in a very similar part, the elegant Aunt Alicia in the original Broadway production of "Gigi".
Then there's Gladys Cooper as Garson's troubled daughter, so filled with self hate and disrespect for the legacy that she needs to be reminded of her parent's struggles so she could be rich and miserable. Married to an amoral count (Edward Arnold), she mocks everybody other than her mother, including herself in her disgust. With her characterization, misery has never come in such a well dressed package.
Everybody else contributes little bits of detail here and there, with Cecil Kellaway, Tom Drake and Lee Patrick among the huge cast of fascinating characters. As this is based upon a novel by Louis Bromfield, I'm surprised that nobody has had the thought of remaking it. In today's world of self centered individuals blaming their problems on the elders in their family without trying to fix their problems besides claiming to have some mental disorder, this feels to be very timely as the world escapes from traditional values and simple beauty that comes from nature and God, not man made pleasures that only briefly remove problems.
Like the following year's "The Valley of Decision", this is a family soap opera where each scandal and scheme makes you want to know more about each of these characters. Garson is breathtakingly beautiful, aging from late teens to her 80's, another example that behind every strong and ethical little old lady was once a face of such loveliness that wrinkles seem impossible until the ravages of time take over. Pidgeon has minimal screen time, just part of the ensemble supporting Greer, but as their fourth pairing, it is as important as those and he is vital to how the story builds.
Underneath the titles, two fascinating supporting players deliver characterizations that are thrilling in every little detail. As Pidgeon s former mistress, Agnes Moorehead delivers her most surprising performance, an aging French beauty who knows what she has become and willingly passes the baton to Garson, training her in the nuances of becoming a great lady. She deservedly received an Oscar nomination for this part, and you will remember her long after this film is over. She would do her final acting work in a very similar part, the elegant Aunt Alicia in the original Broadway production of "Gigi".
Then there's Gladys Cooper as Garson's troubled daughter, so filled with self hate and disrespect for the legacy that she needs to be reminded of her parent's struggles so she could be rich and miserable. Married to an amoral count (Edward Arnold), she mocks everybody other than her mother, including herself in her disgust. With her characterization, misery has never come in such a well dressed package.
Everybody else contributes little bits of detail here and there, with Cecil Kellaway, Tom Drake and Lee Patrick among the huge cast of fascinating characters. As this is based upon a novel by Louis Bromfield, I'm surprised that nobody has had the thought of remaking it. In today's world of self centered individuals blaming their problems on the elders in their family without trying to fix their problems besides claiming to have some mental disorder, this feels to be very timely as the world escapes from traditional values and simple beauty that comes from nature and God, not man made pleasures that only briefly remove problems.