Reviews

"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's Love Again" is my second Jessie Matthews musical. After watching her previous merriment, "First a Girl"(1935), I wanted to see more of her work. And "It's Love Again" is every bit as spirited, frolicsome, and enthralling as that one. It is characterized by grand production values, lovely gracefully directed dancing numbers, and some agreeably enchanting songs - especially the title song, which for some reason I can't seem to forget, even though I've seen the film only once.

Ms. Matthews herself - a radiant, willowy, longed-legged radio soap star turned singer/dancer - is a joy to watch. The effortless way she dances, moves, or sings is quite astonishing, makes you wonder why she is little known. As in "First a Girl", "It's Love Again" features Matthews impersonating another persona, only to discover later her true self. Here, she is dancer, Elaine Bradford, who impersonates a mysterious, alluring British celebrity named Mrs. Smythe-Smythe who spends most her of time in India hunting tigers. Elaine jumps into the role in order to gain fame and impress the show biz manager Archie Raymond (Ernest Milton) of her true talents. The celebrity is concocted by Peter Carlton (Robert Young), a slack but fearless gossip columnist looking for a big break and falls in love with Elaine. Their romantic moments are marvelously sweet and endearing amidst the chaos of dancing and singing.

Victor Saville's direction has its occasionally polished slickness, with its penchant for large-scale, Busby Berkeley-like production numbers. The plot can get a bit tiresome as it proceeds - the constant obsession with Peter's invention Mrs. Smythe-Smythe is really trite and overdone. However, it doesn't get in the way of the glorious numbers and the charming rapport of Ms. Matthews and Mr. Young.

Though it scarcely turns up in some circles as far as I know - "It's Love Again" is worth seeking out if you haven't seen it already. Like so many of the best 30s musicals, you will ultimately be left with a feeling of utmost joy and ecstasy.

"Man's Castle" is one of the most important American films of the 1930s. As Andrew Sarris has noted, it's one of the few films that was able to capture the emotional nuances of the Depression. Borzage's sweet, ethereal love story concerns a tough-guy Bill (Spencer Tracy) and penniless girl Trina (Loretta Young) who are incurably optimistic lovers. They setup house together in a squalid shanty town. Their romance transcends, in Borzage's spiritual vision, the Depression and worst possible squalor. Borzage typically championed the proletariat no better than in this film with the tease of material success at the very beginning of the film with Tracy's self-indulgent character and then challenge to the audience to accept a different set of circumstances. What impressed me the most about "Man's Castle" was Loretta Young. She actually became that character Trina. Her devotion and innocence are heartbreaking. Not to mention she carries Bill's unborn baby, and it would be a crime if he doesn't return the love she expresses to him. Bill loves Trina but he does it in a tough or bullying manner that almost becomes annoying. One of the most moving moments in the film occurs when he buys her a stove that she always wanted to get. She couldn't believe it and falls down on his knees and cries. Bill cannot help but moved by what he did. Despite his tough mannerisms, he ultimately succumbs to Trina's fragility, as they ride the freight train at the end, transcending the Depression and its harshness.