I second the opinion of reviewer "Clanciai", who cites this film's becoming "constantly more interesting" as it progresses and develops (check the 2nd paragraph of his/her review below). Much of this quality is due to the expert construction of the script,as well as actor/director Irving Pichel's fine guidance.
Since we immediately learn that the film's leading lady (and Fred MacMurray's love interest) has died, the writers must find a way to "pull the viewer into" the events surrounding her death---both before and after. The script accomplishes this superbly.
Take, for example, Fred's relationship with Olga---they never even kiss! Yet we sense a very real, very powerful emotional bond between them. Fred's heart-rending sobs at her deathbed further reveal the depth of his love for her.
Many reviewers cite Fred MacMurray's performance as outstanding; it is. He was truly a fine actor, capable of playing just about any type of role which came his way. I have a new-found appreciation of his stature as a result of this film (where was the Academy, I wonder?)
But these reviews contain a number of negative comments about Frank Sinatra's acting; I was actually impressed by his restraint. By 1948, Frank had already demonstrated his acting prowess on screen; clearly, his gentle, low-key performance was his (and Pichel's) choice for the character, not a result of his inexperience.
Many lovely, memorable moments in this film, especially the recurring motif of the starlit sky (with Leigh Harline's barely audible, shimmery music in the background), and the wonderful Christmas Eve dinner scene with Philip Ahn---one of the highlights of the film (though I felt it could have used some musical underscoring in the latter half).
But there are also plenty of dramatic scenes that are beautifully written, acted and directed. I cite TWO of them here: 1.) Olga's entrance (in full Joan of Arc costume) into Lee J. Cobb's office as Fred campaigns for her screen test (Lee J. is superb, almost riveting here). 2.) Fred's spur-of-the-moment, uplifting speech to Frank in the church basement, which dissuades Frank from explaining the "miracle" to his congregation. I had to play each of these scenes back to appreciate their excellence.
However, I have one problem with the screenplay (which I suspect didn't exist in the original story), and here it is: We become increasingly aware that Olga has a very strong attachment to her hometown and the plight of its citizens; her beautiful deathbed speech makes it clear that she wants "Joan of Arc" to serve as a morale-booster for the people of Coal Town, something which will fill them with pride and give their lives new meaning. This is why the "miracle" in the church is so crucial to Fred MacMurray's mission, which in turn motivates Lee J. to release "Joan of Arc" and use the film's proceeds to invest in the future well-being of Coal Town, since both Olga and her father were victims of the health hazards of its industry.
All of this is laid out and developed very effectively in the film's latter scenes. My reservation is the fact that the script is entirely lacking in "setting up" and establishing Olga's connection with the townspeople of Coal Town prior to her leaving to become an actress, a motive which would clearly explain her commitment to them----a dedication so deep that she would literally give her life to finish her film "mission."
The excellent script would have achieved perfection, I believe, if we had understood Olga's emotional connection to her hometown and seen it demonstrated early on. On the contrary, we see evidence that the townspeople have a low regard for her and her late father, which is confusing.
But this is fairly minor; I only point it out because the rest of the script is so logical and, as "Clanciai" says, so engrossing as it develops.
And no, I disagree with several reviews that claim: 1.) The film is too long 2.) Fred MacMurrays's addressing Olga as "baby" is off-putting. Both of these were part of our culture and the art of film making back in 1948. Deal with it.
Glad to have made the acquaintance of this terrific film.
LR
Since we immediately learn that the film's leading lady (and Fred MacMurray's love interest) has died, the writers must find a way to "pull the viewer into" the events surrounding her death---both before and after. The script accomplishes this superbly.
Take, for example, Fred's relationship with Olga---they never even kiss! Yet we sense a very real, very powerful emotional bond between them. Fred's heart-rending sobs at her deathbed further reveal the depth of his love for her.
Many reviewers cite Fred MacMurray's performance as outstanding; it is. He was truly a fine actor, capable of playing just about any type of role which came his way. I have a new-found appreciation of his stature as a result of this film (where was the Academy, I wonder?)
But these reviews contain a number of negative comments about Frank Sinatra's acting; I was actually impressed by his restraint. By 1948, Frank had already demonstrated his acting prowess on screen; clearly, his gentle, low-key performance was his (and Pichel's) choice for the character, not a result of his inexperience.
Many lovely, memorable moments in this film, especially the recurring motif of the starlit sky (with Leigh Harline's barely audible, shimmery music in the background), and the wonderful Christmas Eve dinner scene with Philip Ahn---one of the highlights of the film (though I felt it could have used some musical underscoring in the latter half).
But there are also plenty of dramatic scenes that are beautifully written, acted and directed. I cite TWO of them here: 1.) Olga's entrance (in full Joan of Arc costume) into Lee J. Cobb's office as Fred campaigns for her screen test (Lee J. is superb, almost riveting here). 2.) Fred's spur-of-the-moment, uplifting speech to Frank in the church basement, which dissuades Frank from explaining the "miracle" to his congregation. I had to play each of these scenes back to appreciate their excellence.
However, I have one problem with the screenplay (which I suspect didn't exist in the original story), and here it is: We become increasingly aware that Olga has a very strong attachment to her hometown and the plight of its citizens; her beautiful deathbed speech makes it clear that she wants "Joan of Arc" to serve as a morale-booster for the people of Coal Town, something which will fill them with pride and give their lives new meaning. This is why the "miracle" in the church is so crucial to Fred MacMurray's mission, which in turn motivates Lee J. to release "Joan of Arc" and use the film's proceeds to invest in the future well-being of Coal Town, since both Olga and her father were victims of the health hazards of its industry.
All of this is laid out and developed very effectively in the film's latter scenes. My reservation is the fact that the script is entirely lacking in "setting up" and establishing Olga's connection with the townspeople of Coal Town prior to her leaving to become an actress, a motive which would clearly explain her commitment to them----a dedication so deep that she would literally give her life to finish her film "mission."
The excellent script would have achieved perfection, I believe, if we had understood Olga's emotional connection to her hometown and seen it demonstrated early on. On the contrary, we see evidence that the townspeople have a low regard for her and her late father, which is confusing.
But this is fairly minor; I only point it out because the rest of the script is so logical and, as "Clanciai" says, so engrossing as it develops.
And no, I disagree with several reviews that claim: 1.) The film is too long 2.) Fred MacMurrays's addressing Olga as "baby" is off-putting. Both of these were part of our culture and the art of film making back in 1948. Deal with it.
Glad to have made the acquaintance of this terrific film.
LR