Copyright 6 May 1941 by Loew's Inc. An M-G-M picture. New York opening at the Capitol: 15 May 1941. U.S. release: 23 May 1941. U.K. release: 30 August 1941. Australian release: 9 October 1941. Length: 9,565 feet. 106 minutes. (The Warner DVD rates ten out of ten).
NOTES: Cukor told me that the wonderful snowstorm climax was shot by a second unit under the direction of producer Victor Saville.
COMMENT: After a most impressive opening, this film is undermined by some tedious and banal dialogue scenes, all shot in extremely long and boring takes. Fortunately, it ends with a bang — a sleigh chase so dramatically inter-cut, and filmed by Victor Saville from such a diverse variety of angles, it cannot fail to move the spectator to the edge of his chair.
Sad to say, Melvyn Douglas is a liability who does nothing for the film, and even such a stalwart trouper as Marjorie Main remains disappointingly lackluster in a role she should have relished. But the rest of the cast, particularly Donald Meek and Osa Massen, have a royal time with this melodrama. Crawford and Veidt have their moments too, though they fail to sustain their portrayals at a high pitch of intensity; while Henry Daniell and George Zucco strive valiantly to make their presence felt in small roles.
Planck's photography, particularly his outre lighting of the earlier scenes, is superb. The art direction is similarly impressive.
A SECOND VIEW: As I inferred above, the first half-hour or so is marvelous — despite some remarkably fatuous dialogue of the "Do you like music: symphonies, concertos?" caliber.
Fortunately, the best witnesses are brought on right at the start, with Donald Meek absolutely delightful as a rascally waiter, while boring old windbags like Bassermann bring up the rear.
Alas, once the operation is over, the film's interest nosedives. We can see the denouement coming a mile off, but the characters take their own nice time getting there. Even the climax on the cable car over the dam and the night chase in the sleighs with lots of speeded-up action and obvious meanwhile-back-in-the-studio inserts, fail to generate much excitement.
Cukor's direction is at its stylish best in the initial segments, the tone set by such opening masterstrokes as the rapidly cut tracking shots of Crawford and her guards. Crawford, of course, is great, but Douglas rates as a pain (fortunately he's not in the film all that much). Veidt makes a charming villain. And there's a terrific music score by Kaper.
NOTES: Cukor told me that the wonderful snowstorm climax was shot by a second unit under the direction of producer Victor Saville.
COMMENT: After a most impressive opening, this film is undermined by some tedious and banal dialogue scenes, all shot in extremely long and boring takes. Fortunately, it ends with a bang — a sleigh chase so dramatically inter-cut, and filmed by Victor Saville from such a diverse variety of angles, it cannot fail to move the spectator to the edge of his chair.
Sad to say, Melvyn Douglas is a liability who does nothing for the film, and even such a stalwart trouper as Marjorie Main remains disappointingly lackluster in a role she should have relished. But the rest of the cast, particularly Donald Meek and Osa Massen, have a royal time with this melodrama. Crawford and Veidt have their moments too, though they fail to sustain their portrayals at a high pitch of intensity; while Henry Daniell and George Zucco strive valiantly to make their presence felt in small roles.
Planck's photography, particularly his outre lighting of the earlier scenes, is superb. The art direction is similarly impressive.
A SECOND VIEW: As I inferred above, the first half-hour or so is marvelous — despite some remarkably fatuous dialogue of the "Do you like music: symphonies, concertos?" caliber.
Fortunately, the best witnesses are brought on right at the start, with Donald Meek absolutely delightful as a rascally waiter, while boring old windbags like Bassermann bring up the rear.
Alas, once the operation is over, the film's interest nosedives. We can see the denouement coming a mile off, but the characters take their own nice time getting there. Even the climax on the cable car over the dam and the night chase in the sleighs with lots of speeded-up action and obvious meanwhile-back-in-the-studio inserts, fail to generate much excitement.
Cukor's direction is at its stylish best in the initial segments, the tone set by such opening masterstrokes as the rapidly cut tracking shots of Crawford and her guards. Crawford, of course, is great, but Douglas rates as a pain (fortunately he's not in the film all that much). Veidt makes a charming villain. And there's a terrific music score by Kaper.