This late Frank Borzage movie is almost impossible to categorize. It begins as a kind of 'meet-cute-romantic-comedy' before turning into something more serious but there's a difference, the difference here being a horse. Yes, the man in the title of "That's My Man" is a racehorse we first meet in a taxi-cab one wet Christmas week in LA. His owner is Don Ameche who is so good he makes the mostly cringe-worthy dialogue in these opening scenes sound feasible or is it Borzage, one of the cinema's great romantic directors, who turns potential slop into visual poetry? Regardless, it works. Indeed, these opening scenes are really quite splendid but then it all goes very conventionally downhill. The material is just too off-the-wall and it takes a considerable suspension of disbelief to accept a lot of what is happening. Individual shots and moments do stand out but this is certainly not one of Borzage's better films but then again, no Borzage film is completely negligible and fans of this great director will want to see this. Others may just find it too lachrymose by far.
7 Reviews
Well made, but slow paced and overly sentimental
pacificgroove-315-4949315 January 2015
Sweet, sentimental romantic drama about a good man who sincerely loves his wife but who's gambling addiction continually sabotages their relationship. The first 20 minutes or so is fun and engaging meet-cute romantic comedy, but then the movie turns dark.
In 2014 the film became available for the first time on DVD in it's original length. After initial release in 1947, had only been seen rarely and in a heavily edited version. The DVD image and sound are fairly good; it looks to be a new video transfer made from a decent quality archival print.
The production looks surprisingly plush, given it was made for Republic Pictures.
I found the film well acted, especially by Don Ameche, whose unusual for him, calm and underplayed performance made the story a lot more credible than it would have been otherwise. The female lead gave a believable performance, but lacked star quality that would have made her character's tribulations more watchable.
Unfortunately, I found the film slow moving and overly sentimental. I became bored, especially with the overly repetitious plot.
In 2014 the film became available for the first time on DVD in it's original length. After initial release in 1947, had only been seen rarely and in a heavily edited version. The DVD image and sound are fairly good; it looks to be a new video transfer made from a decent quality archival print.
The production looks surprisingly plush, given it was made for Republic Pictures.
I found the film well acted, especially by Don Ameche, whose unusual for him, calm and underplayed performance made the story a lot more credible than it would have been otherwise. The female lead gave a believable performance, but lacked star quality that would have made her character's tribulations more watchable.
Unfortunately, I found the film slow moving and overly sentimental. I became bored, especially with the overly repetitious plot.
A Lovely, Special Film (possible spoilers)
Kalaman24 May 2004
Warning: Spoilers
"That's My Man" is among Borzage's most unfairly neglected works in his late period, a fact that belies Andrew Sarris's assertion that Borzage's only great film in the 40s had been "Moonrise".
It was the director's second film for Republic Pictures after "I've Always Loved You"(1946); and I loved it as much as any Borzage classic I have seen. And despite the numerous claims that Borzage was not completely pleased with his tenure at Republic, it becomes something really special & endearing with repeated viewings.
The story is not completely original - poor man has a dream of running a horse; fulfillment of dream causes him to lose values; downturn in his fortune causes him to realize what he truly cares about - but it's a believable and valid one. And Borzage directs it with great sensitivity in a number of fine and beautifully acted scenes. The one that stands out in my mind is in the beginning - Don Ameche and Catherine McLeod's wistfully romantic conversation the night they first meet in the darkened apartment. They both reflect about life and then Ameche utters some poignantly philosophical words about the world and how everything in it is just perfect.
The film is beautifully directed; there is tenderness and a subdued tone to it that I find very endearing. It is very moving, but also very cuddly and joyous. The black-and-white photography is characteristic of Borzage: haunting, painterly and expressive, and makes effective use of late 1940s film noir-style lighting.
I also liked the memorable score; the use of the lovely old song "My Wonderful One" was effective. There's a gentle sadness and nostalgic feel to the song, and captures the atmosphere marvelously.
The performances are top-notch. Ameche, whom I have always admired all along, underplays masterfully. I love his touchingly sensitive recitation of his son's favorite poem when the boy is ill at the hospital, and the moment when he quietly speaks to his horse "Gallant Man" after the inevitable victory.
McLeod is fine too. "I've Always Loved You" had been her first leading role; and again she comes off divinely in "That's My Man." Roscoe Karns as the cab driver & Ameche's pal who narrates the first half of the story to a stranger is given an adequate supporting role to display his quirky comic talents.
While "Moonrise" and "I've Always Loved You" may have a significant edge as far as the critics are concerned, "That's My Man" ranks, to my mind, very close to the director's best in quality. A lovely and special film.
It was the director's second film for Republic Pictures after "I've Always Loved You"(1946); and I loved it as much as any Borzage classic I have seen. And despite the numerous claims that Borzage was not completely pleased with his tenure at Republic, it becomes something really special & endearing with repeated viewings.
The story is not completely original - poor man has a dream of running a horse; fulfillment of dream causes him to lose values; downturn in his fortune causes him to realize what he truly cares about - but it's a believable and valid one. And Borzage directs it with great sensitivity in a number of fine and beautifully acted scenes. The one that stands out in my mind is in the beginning - Don Ameche and Catherine McLeod's wistfully romantic conversation the night they first meet in the darkened apartment. They both reflect about life and then Ameche utters some poignantly philosophical words about the world and how everything in it is just perfect.
The film is beautifully directed; there is tenderness and a subdued tone to it that I find very endearing. It is very moving, but also very cuddly and joyous. The black-and-white photography is characteristic of Borzage: haunting, painterly and expressive, and makes effective use of late 1940s film noir-style lighting.
I also liked the memorable score; the use of the lovely old song "My Wonderful One" was effective. There's a gentle sadness and nostalgic feel to the song, and captures the atmosphere marvelously.
The performances are top-notch. Ameche, whom I have always admired all along, underplays masterfully. I love his touchingly sensitive recitation of his son's favorite poem when the boy is ill at the hospital, and the moment when he quietly speaks to his horse "Gallant Man" after the inevitable victory.
McLeod is fine too. "I've Always Loved You" had been her first leading role; and again she comes off divinely in "That's My Man." Roscoe Karns as the cab driver & Ameche's pal who narrates the first half of the story to a stranger is given an adequate supporting role to display his quirky comic talents.
While "Moonrise" and "I've Always Loved You" may have a significant edge as far as the critics are concerned, "That's My Man" ranks, to my mind, very close to the director's best in quality. A lovely and special film.
Good acting...bad script.
planktonrules12 September 2023
"That's My Man" is a surprisingly bad film given that it has a couple excellent actors in the leads, Don Ameche and Catherine McLeod. They try their best...but the material just isn't very good. In particular, Ameche's character really makes no sense at all.
When the story begins, Joe has quit his job and taken his money and bought a baby horse. Now to put this in perspective, he has no idea how to raise a horse and thinks that by loving it and treating it like a pet it will somehow be a great race horse. But in the meantime, he's wandering about the city with a horse...looking for a place to bed him for the night. He meets Ronnie (McLeod) and she inexplicably allows this total stranger to stay with her and bring along his horsey in her city apartment. What part of this makes any sense?!
After working as a stable boy for a couple years, the horse ends up being a big winner and he and Ronnie marry. Their marriage is rocky, however, as Joe is an irresponsible idiot (he did pretty much demonstrate this when the movie began). Instead of paying all his attention to his wife and stable, he misses a lot of things because he's out gambling. He generally wins...but he's often not home and it's only a matter of time until Ronnie's had enough.
The biggest problem, apart from Joe's character making little sense, is that you also have no reason to like Joe and root for him...and he's really a jerk. You can't help but think that Ronnie would just be better off alone than with this man-child.
So what he have is some nice acting and a script that often makes no sense. At best, it's a time-passer.
By the way, one review mentioned that there are multiple versions. The one I found on YouTube is complete and in crisp condition.
When the story begins, Joe has quit his job and taken his money and bought a baby horse. Now to put this in perspective, he has no idea how to raise a horse and thinks that by loving it and treating it like a pet it will somehow be a great race horse. But in the meantime, he's wandering about the city with a horse...looking for a place to bed him for the night. He meets Ronnie (McLeod) and she inexplicably allows this total stranger to stay with her and bring along his horsey in her city apartment. What part of this makes any sense?!
After working as a stable boy for a couple years, the horse ends up being a big winner and he and Ronnie marry. Their marriage is rocky, however, as Joe is an irresponsible idiot (he did pretty much demonstrate this when the movie began). Instead of paying all his attention to his wife and stable, he misses a lot of things because he's out gambling. He generally wins...but he's often not home and it's only a matter of time until Ronnie's had enough.
The biggest problem, apart from Joe's character making little sense, is that you also have no reason to like Joe and root for him...and he's really a jerk. You can't help but think that Ronnie would just be better off alone than with this man-child.
So what he have is some nice acting and a script that often makes no sense. At best, it's a time-passer.
By the way, one review mentioned that there are multiple versions. The one I found on YouTube is complete and in crisp condition.
It's not the horse. It's the man.
mark.waltz7 January 2024
Warning: Spoilers
There's lots of lost weekends for gambling addict Don Ameche, starting off simply as the owner of an adorable colt who ends up becoming a racing horse champion. Ameche happened to meet future wife Cathy O'Donnell on Christmas Eve, homeless and needing to find a place for the feisty young horse to keep warm, and in a bit of comedy, O'Donnell mistakingly agreed to take him in.
But that's pretty much all for the comedy, even with Roscoe Karns as their wisecracking taxi driver pal in fantastic support. It's Karns who keeps trying to slap some sense into Ameche who starts off as a loving husband but is changed quickly by success. He's not there when his wife gives birth to their son, and when he does show up, it's to present her with dirt from outside the mansion in Beverly Hills he's just won from gambling.
A powerful drama that takes a different kind of addiction and presents it from the point of view of success rather than failure, and Ameche plays the role to the hilt. O'Donnell is great too, strong enough to stand up to Ameche for not being there and being the strength of a shaky home, especially when the son takes ill. Karns gets the best role however, not afraid to let Ameche have it when he needs to hear the truth, but completely sympathetic to the situation without being judgmental. A beautiful big budget A film from Republic smartly directed by the legendary Frank Borzage.
But that's pretty much all for the comedy, even with Roscoe Karns as their wisecracking taxi driver pal in fantastic support. It's Karns who keeps trying to slap some sense into Ameche who starts off as a loving husband but is changed quickly by success. He's not there when his wife gives birth to their son, and when he does show up, it's to present her with dirt from outside the mansion in Beverly Hills he's just won from gambling.
A powerful drama that takes a different kind of addiction and presents it from the point of view of success rather than failure, and Ameche plays the role to the hilt. O'Donnell is great too, strong enough to stand up to Ameche for not being there and being the strength of a shaky home, especially when the son takes ill. Karns gets the best role however, not afraid to let Ameche have it when he needs to hear the truth, but completely sympathetic to the situation without being judgmental. A beautiful big budget A film from Republic smartly directed by the legendary Frank Borzage.
Forties weepy not without interest.
Mozjoukine13 January 2003
Even at the tail end of their careers in regular employment, Ameche and Borzage don't let Republic's formula, tear jerker, horse picture totally defeat them. The triple punch still connects - in the card game with Ridgely, speaking the sentimental song to the sick child and the big race.
The production values are very 'forties with the use of studio setting and back projection nearly as much a distraction as the fashions.
It's nice to see Roscoe Karns get a substantial part.
The production values are very 'forties with the use of studio setting and back projection nearly as much a distraction as the fashions.
It's nice to see Roscoe Karns get a substantial part.
Plenty to recommend
jarrodmcdonald-112 June 2023
Warning: Spoilers
Frank Borzage directed stories that had a spiritual bent to them, and were about people making hard choices. When he freelanced at Republic Pictures during the postwar period, he made three films in different genres: one was the musical I'VE ALWAYS LOVED YOU; one was the introspective noir MOONRISE; and one was this film, a drama about horses and gambling. Each title depicts someone who is struggling with a life-changing choice, or set of choices.
In THAT'S MY MAN the person who is struggling most is the character played by Don Ameche. We learn he's quit his job and decided to go down a new path. But these changes bring with them a great deal of uncertainty.
He meets a girl (Catherine McLeod) one rainy night at a drug store. They share a cab ride, and she learns that he has no place stay. And neither does his, ahem "baby"-- an adorable colt he calls Gallant Man. Ameche is good looking and persuasive, and he begins to work his charms on McLeod.
Against her better judgment, McLeod agrees to sneak him and the animal into her low-rent apartment. This initial 'meet cute' phase of the relationship is unique, but we know the film is not really going to be a romantic comedy since Ameche's plan to start over involves getting a job at a nearby stable, raising the colt and becoming the owner of his own stables someday. He doesn't dream small, and if McLeod wants to sign on to a life with him, it won't be easy.
The middle section of the film involves the problems they face in their married life. McLeod is soon pregnant, but Ameche's luck holds with Gallant Man, since the now-grown horse has become a champion racer. Trivia note: the jockey is played by Frankie Darro who often played such roles due to his small size and youthful looks. Second trivia note: Darro had starred in Borzage's earlier film NO GREATER GLORY.
Despite their successes at the track, the marriage between Ameche and McLeod hits a few big snags because he has a gambling addiction. They face a great deal of debt, when he loses what they've won with Gallant Man.
It all reaches a turning point, when Ameche misses the birth of their son; and from there, he becomes less involved in family life. Since this is a story about pride and the value of family, we know Ameche will be forced to do much soul-searching, especially when McLeod asks him to move out and implies she'd like a divorce.
There are a few good subplots. One of these involves a cab driver (Roscoe Karns) who had helped the couple on the night they met. He has continued a friendship with both of them; and plays matchmaker and peacemaker during the ups-and-downs. Karns is also a gambler, but he doesn't take as many risks as Ameche does.
Another subplot involves a group of men that Ameche plays cards with, when he strays from McLeod. One of the men in the group (John Ridgely) is his former boss who runs a rival stable. Ridgely wants to buy Gallant Man. Of course, Gallant Man is never for sale.
Some viewers may find THAT'S MY MAN a bit too sentimental in spots, but I think that's part of its charm. A dramatic sequence involving the near-death of the child pours things on thick, but it facilitates a necessary change in Ameche's character.
I think these stories appealed to moviegoers in the late 1940s. There was hope that the status quo could be reclaimed after nearly losing everything. In this regard, it is an uplifting motion picture with plenty to recommend itself.
In THAT'S MY MAN the person who is struggling most is the character played by Don Ameche. We learn he's quit his job and decided to go down a new path. But these changes bring with them a great deal of uncertainty.
He meets a girl (Catherine McLeod) one rainy night at a drug store. They share a cab ride, and she learns that he has no place stay. And neither does his, ahem "baby"-- an adorable colt he calls Gallant Man. Ameche is good looking and persuasive, and he begins to work his charms on McLeod.
Against her better judgment, McLeod agrees to sneak him and the animal into her low-rent apartment. This initial 'meet cute' phase of the relationship is unique, but we know the film is not really going to be a romantic comedy since Ameche's plan to start over involves getting a job at a nearby stable, raising the colt and becoming the owner of his own stables someday. He doesn't dream small, and if McLeod wants to sign on to a life with him, it won't be easy.
The middle section of the film involves the problems they face in their married life. McLeod is soon pregnant, but Ameche's luck holds with Gallant Man, since the now-grown horse has become a champion racer. Trivia note: the jockey is played by Frankie Darro who often played such roles due to his small size and youthful looks. Second trivia note: Darro had starred in Borzage's earlier film NO GREATER GLORY.
Despite their successes at the track, the marriage between Ameche and McLeod hits a few big snags because he has a gambling addiction. They face a great deal of debt, when he loses what they've won with Gallant Man.
It all reaches a turning point, when Ameche misses the birth of their son; and from there, he becomes less involved in family life. Since this is a story about pride and the value of family, we know Ameche will be forced to do much soul-searching, especially when McLeod asks him to move out and implies she'd like a divorce.
There are a few good subplots. One of these involves a cab driver (Roscoe Karns) who had helped the couple on the night they met. He has continued a friendship with both of them; and plays matchmaker and peacemaker during the ups-and-downs. Karns is also a gambler, but he doesn't take as many risks as Ameche does.
Another subplot involves a group of men that Ameche plays cards with, when he strays from McLeod. One of the men in the group (John Ridgely) is his former boss who runs a rival stable. Ridgely wants to buy Gallant Man. Of course, Gallant Man is never for sale.
Some viewers may find THAT'S MY MAN a bit too sentimental in spots, but I think that's part of its charm. A dramatic sequence involving the near-death of the child pours things on thick, but it facilitates a necessary change in Ameche's character.
I think these stories appealed to moviegoers in the late 1940s. There was hope that the status quo could be reclaimed after nearly losing everything. In this regard, it is an uplifting motion picture with plenty to recommend itself.
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