Had the opportunity to view this film on TV, which was shown in the early AM hours and found it very interesting for a WWII. Clark Gable gave a great performance, despite the fact, that in real life he lost the soul mate of his life and managed to show his great ability as an actor in playing the part of Lana Turner's lover. This was sort of a pick me up for audiences during the war years and having two men after one woman was a different twist. Robert Sterling gave a great supporting role as a guy who was also in love with poor Lana Turner and managed to hold his own against Clark Gable. This is truly a great 1942 Classic and a great picture with Turner & Gable at their very best. Enjoy.
18 Reviews
More Will Come
bkoganbing9 May 2007
With the title this film has, I was expecting the Noel Coward classic song to be somewhere in the background. Might have helped this film quite a lot.
It's not a bad film, but it's quite a let down from Honky Tonk which was the first Clark Gable-Lana Turner combination which incidentally is my favorite Clark Gable role. It would be another six years before Gable and Turner would be paired again and in this one, Homecoming, it was Turner's picture all the way. It's my favorite Lana Turner picture.
In Somewhere I'll Find You, brothers Gable and Robert Sterling are reporters who both fall for female reporter Lana Turner. Gable keeps trying to convince Sterling that Turner's not the girl for him, but he's quite insincere in saying he doesn't have ulterior motives.
Midway through the film the action shifts from New York City to the Far East in the days just before Pearl Harbor and the last part of the film is a rousing bit of patriotic bravado, letting those people in the Orient know that the United States suffered a knockdown, but far from a knockout.
Gable's final scene, a radio broadcast from Bataan must have been especially poignant for him. This film was the only one he did between Carole Lombard's death and his discharge from military service. When he said 'more will come' he meant quite literally he was coming also. He had in fact already enlisted in the army and would be serving in the Air Corps as a tail-gunner.
Robert Sterling was being showcased in this film as well. He was MGM's junior version of Robert Taylor. Of course his greatest success was with his wife Anne Jeffreys on television in Topper.
Patricia Dane has a small, but telling role as a girl Gable picks up on the rebound from Turner. She should have had a much bigger career than she did. In the battle scene with the Japanese on the beach, small roles were given to future MGM stalwart players Van Johnson and Keenan Wynn.
Somewhere I'll Find You is not as good as Honky Tonk or Homecoming, but it's still a well crafted piece of entertainment.
It's not a bad film, but it's quite a let down from Honky Tonk which was the first Clark Gable-Lana Turner combination which incidentally is my favorite Clark Gable role. It would be another six years before Gable and Turner would be paired again and in this one, Homecoming, it was Turner's picture all the way. It's my favorite Lana Turner picture.
In Somewhere I'll Find You, brothers Gable and Robert Sterling are reporters who both fall for female reporter Lana Turner. Gable keeps trying to convince Sterling that Turner's not the girl for him, but he's quite insincere in saying he doesn't have ulterior motives.
Midway through the film the action shifts from New York City to the Far East in the days just before Pearl Harbor and the last part of the film is a rousing bit of patriotic bravado, letting those people in the Orient know that the United States suffered a knockdown, but far from a knockout.
Gable's final scene, a radio broadcast from Bataan must have been especially poignant for him. This film was the only one he did between Carole Lombard's death and his discharge from military service. When he said 'more will come' he meant quite literally he was coming also. He had in fact already enlisted in the army and would be serving in the Air Corps as a tail-gunner.
Robert Sterling was being showcased in this film as well. He was MGM's junior version of Robert Taylor. Of course his greatest success was with his wife Anne Jeffreys on television in Topper.
Patricia Dane has a small, but telling role as a girl Gable picks up on the rebound from Turner. She should have had a much bigger career than she did. In the battle scene with the Japanese on the beach, small roles were given to future MGM stalwart players Van Johnson and Keenan Wynn.
Somewhere I'll Find You is not as good as Honky Tonk or Homecoming, but it's still a well crafted piece of entertainment.
OK, no great loss if you miss it
smatysia19 January 2005
The criticism from the earlier commentators seems fairly valid, but most of it seemed less serious after seeing the film. It does end up as a completely different movie from what it began as, but so what? And yes, there was a large element of wartime propaganda involved in it, but again, so what? Many, if not most films of the era were similarly propagandistic. The performances of Clark Gable, and Lana Turner may not have been their best, but the charm, the charisma, that something that made them stars was on display in spite of the failings of the material. The whole plot about Turner's character's character (or lack thereof) was reasonably well-done. Imagine what it would take to do such a plot nowadays. Probably at least four sex scenes. Overall, an OK film, no great loss if you miss it.
I liked it!
sanniti17 July 2011
What a pleasant way to spend two hours when one can't sleep. I loved Lana Turner's face, a little baby fat and that water and soap look. Another thing I really liked was the dialog, even the jokes held up well, despite their 70 year span since having been written. I was surprised to come to this site and see how many of the comments were negative. I like to think myself intelligent, beyond the attraction of the quasi harlequin romance of the story, so I'm going to sum up my over exaggerated enjoyment of this film with the fact that I have yet to see either Honky Tonk or Homecoming. If I liked this one, I am sure I'll love the other two. :-)
War and romance. Brothers compete for the same girl.
michaelRokeefe9 October 2001
This is a war/romance drama like too many others; but the star studded cast keeps your interest. Clark Gable and Robert Sterling are brothers and both are war correspondents that fall in love with the same girl; and what a girl(Lana Turner).Turner gets the brothers attention while evacuating children in Indochina during WWII. The love scenes between Gable and Turner sizzle and make you forget the flimsy story line. Patricia Dane is quite an eye full herself. Also in the cast are Van Johnson, Frank Faylen, Keye Luke and Reginald Owen. If you like this; check out HOMECOMING(1948), another Gable/Turner war drama with more substance.
Not quite dynamite
TheLittleSongbird13 August 2018
Clark Gable was always an actor well worth watching, and great performances are a great many (his Rhett Butler being deservedly iconic). Lana Turner has also been capable of giving good performances. The story sounded interesting and comedy with a mix of drama has worked well before and since, if not without its dangers.
'Somewhere I'll Find You' is notable too for Gable's wife Carole Lombard having tragically and prematurely died in a plane crash three days into shooting, wanted to see how Gable would fare in a film that would have been rather painful for him to do (apparently he wanted the rather profound title changed, and it is very understandable why, actually would have done the same if in his position). 'Somewhere I'll Find You' is not great, neither is it awful, and doesn't see everybody at the top of their game. It is very watchable and above average if somewhat uneven.
The good things are many. It's a good looking film, particularly in the way it's shot, showing fluidity and professionalism instead of haste or sloppiness. It's scored in a way that suits the tone of the film well, and it's all efficiently directed by Wesley Ruggles who doesn't allow 'Somewhere I'll Find You' to be less than interesting. Really liked the charming and amusing first half, even if it was somewhat standard and occasionally contrived, which had a humorous rapport, well-timed gags and smart script-writing. Underneath all that too there is an emotional power.
Gable fared remarkably well in his performance here, there are parts where he is subdued and more than understandably, but he is mostly very moving in particularly the end. His charm and comic gifts weren't lost and that he carried on despite being grief-stricken is to be commended. Lana Turner is lively and at times sympathetic, with a touch of melodrama which fitted the tone of the second half well. Robert Sterling is great support and the three work very well together, even if Gable and Sterling are never quite believable as brothers. The supporting cast, that includes Reginald Owen, Van Johnson and Keenan Wynn, are solid.
On the other hand, those good things are mixed with some not so good things. Namely that the more dramatic second half creates a rather jarring tone change and it feels like a film of two different halves, like two films in one which gave 'Somewhere I'll Find You' a disjointed sense. The pacing isn't as efficient and while there are enough poignant moments there are heavy-handed ones too.
This is particularly apparent towards and at the end, which did come over as preachy in the writing. The ending is rather too convenient and tacked on. The film has moments where it is a little too underplayed and also where it's a touch melodramatic.
In conclusion, above average if uneven, not quite dynamite. 6/10 Bethany Cox
'Somewhere I'll Find You' is notable too for Gable's wife Carole Lombard having tragically and prematurely died in a plane crash three days into shooting, wanted to see how Gable would fare in a film that would have been rather painful for him to do (apparently he wanted the rather profound title changed, and it is very understandable why, actually would have done the same if in his position). 'Somewhere I'll Find You' is not great, neither is it awful, and doesn't see everybody at the top of their game. It is very watchable and above average if somewhat uneven.
The good things are many. It's a good looking film, particularly in the way it's shot, showing fluidity and professionalism instead of haste or sloppiness. It's scored in a way that suits the tone of the film well, and it's all efficiently directed by Wesley Ruggles who doesn't allow 'Somewhere I'll Find You' to be less than interesting. Really liked the charming and amusing first half, even if it was somewhat standard and occasionally contrived, which had a humorous rapport, well-timed gags and smart script-writing. Underneath all that too there is an emotional power.
Gable fared remarkably well in his performance here, there are parts where he is subdued and more than understandably, but he is mostly very moving in particularly the end. His charm and comic gifts weren't lost and that he carried on despite being grief-stricken is to be commended. Lana Turner is lively and at times sympathetic, with a touch of melodrama which fitted the tone of the second half well. Robert Sterling is great support and the three work very well together, even if Gable and Sterling are never quite believable as brothers. The supporting cast, that includes Reginald Owen, Van Johnson and Keenan Wynn, are solid.
On the other hand, those good things are mixed with some not so good things. Namely that the more dramatic second half creates a rather jarring tone change and it feels like a film of two different halves, like two films in one which gave 'Somewhere I'll Find You' a disjointed sense. The pacing isn't as efficient and while there are enough poignant moments there are heavy-handed ones too.
This is particularly apparent towards and at the end, which did come over as preachy in the writing. The ending is rather too convenient and tacked on. The film has moments where it is a little too underplayed and also where it's a touch melodramatic.
In conclusion, above average if uneven, not quite dynamite. 6/10 Bethany Cox
MGM Propaganda Film
blanche-218 June 2010
"Somwhere I'll Find You," released in 1942, was produced amid some chaos. Lana Turner was fired after marrying Arte Shaw against Mayer's wishes, and Esther Williams was given the role. However, Turner got the role back. Filming was halted for five weeks due to Carole Lombard's death. And then Gable wanted the title changed, because he said he wouldn't walk back on the set with the film being called "Somewhere I'll Find You." Supposedly the film's name was changed to "Red Light," probably just to get him through the rest of it.
Since seeing "Cass Timberlane," I've been giving some thought to MGM taking the easy way out with their scripts at times. I think this film is another example. The story is quite ordinary - two brothers (and two pretty unlikely brothers, Clark Gable and Robert Sterling with nearly a 17-year difference in their ages) both interested in the same woman (Turner). All three are reporters; the film takes place right before Pearl Harbor.
This would have been a much more interesting film with more focus on the situation in Hanoi, where the Turner character goes missing, and the efforts of the reporters to get the truth printed so that the average U.S. citizen would be aware of what was really happening. This is touched on, and actually, one of the scenes in the editor's office is very funny. Instead, we have Gable going after Turner because he thinks she's a tramp and bad for his brother, who wants to marry her. You can see the ending coming a mile away.
Keenan Wynn and Van Johnson have small parts in the film. By the end of the war, Johnson would be a very popular leading man at MGM, and Wynn would see bigger roles.
The very end of "Somewhere I'll Find You" is the pure propaganda found in films made during this period. It was an important part of film-making, and it's always interesting to see the U.S. atmosphere in these years. The world was going to change mightily, and so was Hollywood, with its major stars going off to war.
Gable's return would be the most difficult - he was older than some of the other classic stars, a grieving widower, and he would forever be in the shadow of Rhett Butler. When Turner cuts a deck of cards in the film, she gets the King. And that's what we get here, just before he goes into the service.
Since seeing "Cass Timberlane," I've been giving some thought to MGM taking the easy way out with their scripts at times. I think this film is another example. The story is quite ordinary - two brothers (and two pretty unlikely brothers, Clark Gable and Robert Sterling with nearly a 17-year difference in their ages) both interested in the same woman (Turner). All three are reporters; the film takes place right before Pearl Harbor.
This would have been a much more interesting film with more focus on the situation in Hanoi, where the Turner character goes missing, and the efforts of the reporters to get the truth printed so that the average U.S. citizen would be aware of what was really happening. This is touched on, and actually, one of the scenes in the editor's office is very funny. Instead, we have Gable going after Turner because he thinks she's a tramp and bad for his brother, who wants to marry her. You can see the ending coming a mile away.
Keenan Wynn and Van Johnson have small parts in the film. By the end of the war, Johnson would be a very popular leading man at MGM, and Wynn would see bigger roles.
The very end of "Somewhere I'll Find You" is the pure propaganda found in films made during this period. It was an important part of film-making, and it's always interesting to see the U.S. atmosphere in these years. The world was going to change mightily, and so was Hollywood, with its major stars going off to war.
Gable's return would be the most difficult - he was older than some of the other classic stars, a grieving widower, and he would forever be in the shadow of Rhett Butler. When Turner cuts a deck of cards in the film, she gets the King. And that's what we get here, just before he goes into the service.
And indeed there would be "More to Come".
mark.waltz16 December 2011
Warning: Spoilers
Two years after Hitchcock reported on Nazi's atrocities in the pre-Pearl Harbor days of "Foreign Correspondent", MGM quickly put together this war drama starring their newest "hot" team of Clark Gable and Lana Turner, previously seen in the hit western "Honky Tonk". Having even more chemistry than the advertised "TNT" pairing of Turner with Robert Taylor in the same year's "Johnny Eager", Turner and Gable were dynamic together. The film is notable historically for being the film Gable was making at the time his wife Carole Lombard was killed in a plane crash while selling war bonds.
Gable's a Foreign Correspondent back in New York after five years, and when he meets his brother's (Robert Sterling) fiancée (Turner), sparks fly immediately. Actually, soap suds do, because in this adorably comic scene, Turner is in the midst of taking a shower, and he has to verbally guess what she looks like by analyzing her wardrobe. They share a drink but nothing else as she's not about to betray his brother, even though it's clear it is Gable she fancies. But as a Foreign Correspondent herself, she is soon missing while helping orphaned children get across the border to China. The days of peace are over, as the film notes right after the credits conclude, it is 83 days until Christmas 1941 and about 66 until Pearl Harbor.
Once war is declared, all three foreign correspondents end up in the South Pacific where Sterling and Gable witness a battle lead by a young Van Johnson, with another newcomer, Keenan Wynn, right by his side. This leads into the memorable "Don't Forget Their Names" montage that recaptures the goings-on of the battle and an important war message that was Hollywood propaganda at its finest. Such familiar faces as Sara Haden, Reginald Owen and Lee Patrick have memorable supporting roles, and there is also a delightfully funny battle between Gable and his newspaper boss (Charles Dingle). The combination of romance, comedy and war drama makes this a must, especially for film students studying World War II as seen through the eyes of Hollywood.
Gable's a Foreign Correspondent back in New York after five years, and when he meets his brother's (Robert Sterling) fiancée (Turner), sparks fly immediately. Actually, soap suds do, because in this adorably comic scene, Turner is in the midst of taking a shower, and he has to verbally guess what she looks like by analyzing her wardrobe. They share a drink but nothing else as she's not about to betray his brother, even though it's clear it is Gable she fancies. But as a Foreign Correspondent herself, she is soon missing while helping orphaned children get across the border to China. The days of peace are over, as the film notes right after the credits conclude, it is 83 days until Christmas 1941 and about 66 until Pearl Harbor.
Once war is declared, all three foreign correspondents end up in the South Pacific where Sterling and Gable witness a battle lead by a young Van Johnson, with another newcomer, Keenan Wynn, right by his side. This leads into the memorable "Don't Forget Their Names" montage that recaptures the goings-on of the battle and an important war message that was Hollywood propaganda at its finest. Such familiar faces as Sara Haden, Reginald Owen and Lee Patrick have memorable supporting roles, and there is also a delightfully funny battle between Gable and his newspaper boss (Charles Dingle). The combination of romance, comedy and war drama makes this a must, especially for film students studying World War II as seen through the eyes of Hollywood.
love and jingoism just never goes out of style
bengleson15 May 2002
Films like "Somewhere I'll Find You" are great little time capsules. We tend to forget that America has a well-grounded isolationist past even though George Bush represented a return to the philosophy before 9/11. Anyways, this films' primary function was to rev up the home-front and sell war bonds and profile Gable and Turner. It does both well. It accurately forecasts a longer war and an eventual victory. The love story was humorous. The gamesmanship within the threesome tended to get a bit irritating until I realized that it was simply a plot device to keep things moving along as if the War wasn't a sufficient motivator. The more powerful love story was the unstated one between Gable and Carole Lombard. Her death a few days into the filming must have had an unimaginable affect on Gable. I could detect nothing in his performance that measured that. This was not necessarily a good film but there is a small pleasure to be had in viewing it and paying some distant homage to 1942 America.
Did not age well
vincentlynch-moonoi21 December 2017
Warning: Spoilers
I like what one of our other reviewers wrote: that films like this are "great little time capsules". Unfortunately, this time capsule is woefully outdated, making much of this film inane. And I say that as someone who very much liked Clark Gable (from "GWTW" to "It Started In Naples"), and similarly very much liked Lana Turner (and also thought she was incredibly beautiful).
Problem # 1: Gable's part. It's classic Gable, if you liked Gable from the 1930s. But it didn't work so well in the 1940s when Hollywood was growing up. The whole routine with the newspaper editor in the beginning of the film...that's what I meant when I said parts of the film were inane.
Problem # 2: The settings. A Russian restaurant. How cliche for the era.
Problem # 3: Let's see now...Gable and Sterling are thrashing through a tropical jungle in full dress suits. Yeah...like that made much sense. At least in "Red Dust" Gable dressed appropriately.
Problem # 4: Trite dialog.
I'm trying to think of something really good to say about this film. The only thing I can think of is the casting. Gable and Turner as headliners. Robert Sterling does a nice job as the third point of the triangle. There are also early glimpses of Keenan Wynn and Van Johnson.
However, for my buck, give a look at "Honky Tonk" or "Homecoming"...both much better vehicles in which to see Gable and Turner paired.
Problem # 1: Gable's part. It's classic Gable, if you liked Gable from the 1930s. But it didn't work so well in the 1940s when Hollywood was growing up. The whole routine with the newspaper editor in the beginning of the film...that's what I meant when I said parts of the film were inane.
Problem # 2: The settings. A Russian restaurant. How cliche for the era.
Problem # 3: Let's see now...Gable and Sterling are thrashing through a tropical jungle in full dress suits. Yeah...like that made much sense. At least in "Red Dust" Gable dressed appropriately.
Problem # 4: Trite dialog.
I'm trying to think of something really good to say about this film. The only thing I can think of is the casting. Gable and Turner as headliners. Robert Sterling does a nice job as the third point of the triangle. There are also early glimpses of Keenan Wynn and Van Johnson.
However, for my buck, give a look at "Honky Tonk" or "Homecoming"...both much better vehicles in which to see Gable and Turner paired.
I love Gable' s films but this script stinks
planktonrules19 July 2006
Warning: Spoilers
While I always enjoy Clark Gable films (heck, I even enjoyed PARNELL!), this one only got worse the second time I watched it. I know this may sound misogynistic, but Clark acted as if he was experiencing a world-class case of PMS throughout most of the film and Lana Turner just seemed pretty stupid due to the poor writing of this script. Clark, inexplicably, plays not just his usual rogue, but a genuinely confusing and back-biting brother--and this, along with his odd behaviors, make him pretty unlikable. That's really bad, as he is supposed to be likable down deep, not a sexist back-stabber whose behaviors seem almost bipolar! And, despite the fact that deep down Clark is a jerk, Lana STILL insists on following him to the ends of the Earth! This woman really needed to be less of a codependent, plus it made absolutely no sense WHY she picked Clark over his handsome and decent brother played by Robert Sterling.
Now if you can ignore the basic stupidity of Clark and Lana in this film, what's left is very good. The character of Clark's brother is both well-acted and written. The integration of pre-war and wartime attitudes of Clark's newspaper is also very interesting and I loved the sparring he did with the editor early in the film--particularly when he stole the old appeasers clothes--that was "pure Gable" all the way. Plus, the entry into the war and the final portion of the film was exceptional and exciting as well--the film REALLY could have used a lot more of this type inspiring action and a lot less than the totally uninspired romance between Gable and Turner. The only odd thing about this, by the way, was Gable and his brother sneaking into China through the swamps wearing suits and ties! That was just dopey.
All in all, a very mixed bag of a film. Worth seeing to Gable fans, but it is far from one of his better films.
Now if you can ignore the basic stupidity of Clark and Lana in this film, what's left is very good. The character of Clark's brother is both well-acted and written. The integration of pre-war and wartime attitudes of Clark's newspaper is also very interesting and I loved the sparring he did with the editor early in the film--particularly when he stole the old appeasers clothes--that was "pure Gable" all the way. Plus, the entry into the war and the final portion of the film was exceptional and exciting as well--the film REALLY could have used a lot more of this type inspiring action and a lot less than the totally uninspired romance between Gable and Turner. The only odd thing about this, by the way, was Gable and his brother sneaking into China through the swamps wearing suits and ties! That was just dopey.
All in all, a very mixed bag of a film. Worth seeing to Gable fans, but it is far from one of his better films.
supernova coupling for the war effort
SnoopyStyle6 June 2021
It's 83 shopping days before Christmas 1941 and 65 days until Pearl Harbor. Jonny Davis (Clark Gable) and his younger brother Kirk try to report on the dangers from Germany and Japan. Their appeaser editor sinks their story but Jonny tricks him. He tries to return to his apartment but finds it rented out to Paula Lane (Lana Turner), a fellow reporter from his past.
This opens with a wartime rallying scene. Then it becomes more of a standard wartime romance albeit with the first class pairing of Gable and Turner. The triangle isn't much of a triangle and the intensity isn't there. It's a lot of whining from Kirk. When they go to Vietnam, it becomes compelling for unforeseeable reasons. While it's fun to have this supernova coupling, it actually doesn't have much tension. The war action is effective propaganda for its time and Jonny goes on a nice rift on the names.
This opens with a wartime rallying scene. Then it becomes more of a standard wartime romance albeit with the first class pairing of Gable and Turner. The triangle isn't much of a triangle and the intensity isn't there. It's a lot of whining from Kirk. When they go to Vietnam, it becomes compelling for unforeseeable reasons. While it's fun to have this supernova coupling, it actually doesn't have much tension. The war action is effective propaganda for its time and Jonny goes on a nice rift on the names.
Somewhere I'll Find You- Better Not to in this Film **1/2
edwagreen5 July 2010
Warning: Spoilers
There is just ponderous dialogue in this 1942 film.
There is an excellent beginning premise where Charles Dingle, who was so good as Bette Davis's suspicious brother in "The Little Foxes," portrays an appeasing editor. Gable really pulls the wool over his eyes.
From there on, the film goes steadily downhill. It becomes a rather monotonous story of the 2 reporters, the Davis Brothers- Gable and Robert Sterling who are in pursuit of fellow reporter Lana Turner. Even with the constant talking, it's obvious who Turner shall wind up with. Almost over an hour into the film, Pearl Harbor is finally bombed and as the film ends, Gable reports on what has occurred at Bataan.
There's one scene where Turner is evacuating children in Hanoi. They certainly could have made this more exciting. Instead, we have a very talky film with limited action. A major disappointment.
There is an excellent beginning premise where Charles Dingle, who was so good as Bette Davis's suspicious brother in "The Little Foxes," portrays an appeasing editor. Gable really pulls the wool over his eyes.
From there on, the film goes steadily downhill. It becomes a rather monotonous story of the 2 reporters, the Davis Brothers- Gable and Robert Sterling who are in pursuit of fellow reporter Lana Turner. Even with the constant talking, it's obvious who Turner shall wind up with. Almost over an hour into the film, Pearl Harbor is finally bombed and as the film ends, Gable reports on what has occurred at Bataan.
There's one scene where Turner is evacuating children in Hanoi. They certainly could have made this more exciting. Instead, we have a very talky film with limited action. A major disappointment.
And somewhere you'll find a much better movie to watch . . .
tjonasgreen29 March 2004
This is a 'you hadda be there' picture. In 1942 this would have been one to see: the re-teaming of Clark Gable and Lana Turner after their success in HONKY TONK and Gable's first picture to be released after the death of his wife Carole Lombard. It was also his last picture before enlisting, so all stateside moviegoers knew it would be their final Gable film for the duration of WWII. And since her elopement and subsequent divorce from Artie Shaw in 1940, Turner was an ongoing tabloid headline. I guess with so many surefire elements, MGM didn't think it had to make a good movie too.
This is a 'love' triangle between three journalists, unfolding just before and just after Pearl Harbor. But since Gable and Turner make up two of the three points, there's no doubt about who will wind up with the girl. Yet we must suffer many contrived scenes during which two parts of the triangle argue tediously about the absent third. Finally, war breaks out and all debts are paid during the Japanese invasion of the Philippines,
Beginning with an ill-judged opening comic scene, right through to the rousing, patriotic ending in the midst of the noise and muck of war, nothing in this picture makes sense, fits together or works satisfyingly. It lurches clumsily from comedy to romance to comedy to action picture, as if each sequence was meant for a separate film. SOMEWHERE I'LL FIND YOU gives lie to the idea that movies from the classic period always had coherent stories.
Gable is reassuringly gruff and virile but he does seem less energetic and committed to the part than usual, and a couple of his closeups suggest the studio was exploiting his grief over Lombard, assuming that's what audiences would see in his face. Turner is livelier and her scenes with Gable are beautifully shot but never erotic. As Gable's younger brother, Robert Sterling is good-looking and lends able support and it isn't his fault that he and Gable never seem related. That was more Gable's job and he botched it. As a fast-talking B-girl, Patricia Dane is self-conscious but she makes such an impression in her two scenes and is so well-dressed and photographed that you wonder why you haven't seen more of her. You also wonder who she may have been seeing in the Front Office to get such a break. Best buddies (and rumored lovers) Van Johnson and Keenan Wynn have small parts near the end, and a few Asian actors are given sympathetic bits in the last quarter. But this movie squanders nearly every opportunity it had.
This is a 'love' triangle between three journalists, unfolding just before and just after Pearl Harbor. But since Gable and Turner make up two of the three points, there's no doubt about who will wind up with the girl. Yet we must suffer many contrived scenes during which two parts of the triangle argue tediously about the absent third. Finally, war breaks out and all debts are paid during the Japanese invasion of the Philippines,
Beginning with an ill-judged opening comic scene, right through to the rousing, patriotic ending in the midst of the noise and muck of war, nothing in this picture makes sense, fits together or works satisfyingly. It lurches clumsily from comedy to romance to comedy to action picture, as if each sequence was meant for a separate film. SOMEWHERE I'LL FIND YOU gives lie to the idea that movies from the classic period always had coherent stories.
Gable is reassuringly gruff and virile but he does seem less energetic and committed to the part than usual, and a couple of his closeups suggest the studio was exploiting his grief over Lombard, assuming that's what audiences would see in his face. Turner is livelier and her scenes with Gable are beautifully shot but never erotic. As Gable's younger brother, Robert Sterling is good-looking and lends able support and it isn't his fault that he and Gable never seem related. That was more Gable's job and he botched it. As a fast-talking B-girl, Patricia Dane is self-conscious but she makes such an impression in her two scenes and is so well-dressed and photographed that you wonder why you haven't seen more of her. You also wonder who she may have been seeing in the Front Office to get such a break. Best buddies (and rumored lovers) Van Johnson and Keenan Wynn have small parts near the end, and a few Asian actors are given sympathetic bits in the last quarter. But this movie squanders nearly every opportunity it had.
Mobilizing for Victory
michaelchager25 November 2022
Significant resources were devoted to this remunerative Gable -Turner product. Turner turns up the heat in her two-shots with the King. Gable was at the end of his reign and would soon join the war. Young Turner shows here what we were fighting for - also is representative of a mobilized generation that would be considered the greatest. The smart script flies above current literacy levels. The plot resolves through the intervention of war, but this war went past the point of no return to normalcy. A similar national mobilization today seems unobtainable but for another greatest generation to drive it.
They used the term, The Seven Year Itch!
larrysmile115 July 2006
Warning: Spoilers
I don't know what to say good about this movie. Sure, Clark Gable and Lana Turner are big stars. Too bad they were not given a "big script" to act with.
Two brothers seeking the attention of the same girl - unbeknownst to each brother - is not a believable story plot.
Lana Turner's role in immediately flirting with Clark Gable whom she remembers but he is left to guess while she in behind the bedroom door in a bathroom getting "ready" is silly and speaks to the fact that her character has little character. She is at the point where Gable's brother has confessed to Clark that he wants to marry the girl and yet, she is ready, willing, and able to let Clark kiss her on the side of the face and smell her perfume close up.
I found the movie boring and uninteresting. For a film with Gable and Turner, the studio should have given them a dramatic story. This one seems hastened and geared for viewers who follow magazine romance stories.
It seems that the real reason for making this film is to serve as propaganda to bolster American morale immediately after the bombing of Pearl Harbor on December 7, 1941. For the story is of the two brothers, Clark Gable and Robert Sterling, both war correspondents, and Lana Turner globe trotting over Asia and the Pacific war islands to rev-up morale for the war effort. In the end, Gable dictates a newspaper story to Turner while under enemy fire following the fall of Batan leaving the impression that America is "not licked yet, and we have just begun to fight!"
Well, at least the movie served it's purpose to sell WWII war bonds!
Larry de Illinois
Two brothers seeking the attention of the same girl - unbeknownst to each brother - is not a believable story plot.
Lana Turner's role in immediately flirting with Clark Gable whom she remembers but he is left to guess while she in behind the bedroom door in a bathroom getting "ready" is silly and speaks to the fact that her character has little character. She is at the point where Gable's brother has confessed to Clark that he wants to marry the girl and yet, she is ready, willing, and able to let Clark kiss her on the side of the face and smell her perfume close up.
I found the movie boring and uninteresting. For a film with Gable and Turner, the studio should have given them a dramatic story. This one seems hastened and geared for viewers who follow magazine romance stories.
It seems that the real reason for making this film is to serve as propaganda to bolster American morale immediately after the bombing of Pearl Harbor on December 7, 1941. For the story is of the two brothers, Clark Gable and Robert Sterling, both war correspondents, and Lana Turner globe trotting over Asia and the Pacific war islands to rev-up morale for the war effort. In the end, Gable dictates a newspaper story to Turner while under enemy fire following the fall of Batan leaving the impression that America is "not licked yet, and we have just begun to fight!"
Well, at least the movie served it's purpose to sell WWII war bonds!
Larry de Illinois
Gable and Turner Have Been Better
JLRMovieReviews8 February 2011
Turner and Gable's first film together after "Honky Tonk" is this story of reporter/war correspondent Gable meeting brother Robert Sterling's girl Lana and going after her. (He did meet her first, but went after her anyway, after knowing she was Robert Sterling's fiancée.) Clark and Lana's courtship and the first hour is enjoyable, but at the half-way point, the movie takes a complete 180 degree turn to the then current war and gets into the battle. Keenan Wynn and Van Johnson costar during this part. But despite its action, the movie loses the viewers' interest. To top it off, the ending gets preachy with Clark spouting off the headlines and patriotic propaganda to Lana, who's typing (but can she really be getting all this down?) You may watch this for its stars, but it's really a letdown for all concerned.
But interest is nowhere to be found here.
dbdumonteil8 May 2003
This movie begins as a comedy,then turns into a war movie,with the incredible scene of Lana Turner evacuating children.The gags are ponderous (the news paper owner who ends up completely naked in his office),and it 's hard to believe that the two brothers are a family unit.The part in Asia suffers from studio film sets:for instance the jungle looks like exotic public gardens.
The ending sets the record straight:it is a propaganda movie and nothing more.
The ending sets the record straight:it is a propaganda movie and nothing more.
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