Producer: Frank Lloyd. Copyright 14 September 1940 by Columbia Pictures Corp. New York opening at Radio City Music Hall, 26 September, 1940. U.S. release: 19 September 1940. Australian release: 10 April 1941. 13 reels. 10,416 feet. 115½ minutes.
Australian release title: The TREE OF LIBERTY.
SYNOPSIS: Backwoods surveyor marries an aristocratic Virginian.
COMMENT: How my grandfather would have enjoyed this film! Unfortunately, he never saw it, not realizing that the Australian title masked a fairly faithful account of the American Howards. Admittedly, Cary Grant is atrociously miscast and feels he is obliged to render every line as loudly as possible in a curious mixture of Irish and Cockney accents. His co-star Martha Scott is also not wholly enjoyable, being both too stiff and too dull for the albeit conventional role of vivacious, lively heiress.
Some of the support players are equally maladroit, particularly Richard Carlson's Tom Jefferson, and Irving Bacon, almost unrecognizably miscast as an Olin Howland-type backwoodsman.
Nonetheless, ranged on the credit side of the acting ledger, Sir Cedric Hardwicke gives an unforgettably powerful performance as the embittered Fleetwood, one of his most memorable studies in well-rounded heavies. He's a malevolent character in many respects, but you can't help feeling sorry for him. That's real acting. Probably Hardwicke's best role ever, eclipsing even his hard-hearted Ralph Nickleby. He certainly wipes out the rest of the cast - with the exception of Alan Marshal who makes an excellent foil as the tippling Roger.
If (Sir Cedric aside), the acting is largely second-rate, part of the fault can be attributed to the hokey script by Sidney Buchman of all people (Mr Smith Goes To Washing¬ton, The Talk of the Town, A Song To Remember). Its drama is forced, its humor unfunny, its dialogue often embarrass¬ingly amateurish. Hard to believe it's the same writer who did such a witty, polishing job on The Talk of the Town.
As a director, Frank Lloyd is not always skilful with players. Action and spectacle are his forte. Fortunately, The Howards of Virginia has its share of such scenes. Moreover, Lloyd is joined by Hollywood's most inventive montage expert, Slavko Vorkapich, in creating some thrilling pre-Revolutionary episodes of dispatch-riders galloping furiously to the assembly. The sets and locations are often breathtaking.
Best of all, is the music. Richard Hageman has constructed a wonderfully stirring score. The opening, credits in which the title card flashes on the screen orchestrated by the Liberty Bell, is one of the great moments of forties' cinema.
Australian release title: The TREE OF LIBERTY.
SYNOPSIS: Backwoods surveyor marries an aristocratic Virginian.
COMMENT: How my grandfather would have enjoyed this film! Unfortunately, he never saw it, not realizing that the Australian title masked a fairly faithful account of the American Howards. Admittedly, Cary Grant is atrociously miscast and feels he is obliged to render every line as loudly as possible in a curious mixture of Irish and Cockney accents. His co-star Martha Scott is also not wholly enjoyable, being both too stiff and too dull for the albeit conventional role of vivacious, lively heiress.
Some of the support players are equally maladroit, particularly Richard Carlson's Tom Jefferson, and Irving Bacon, almost unrecognizably miscast as an Olin Howland-type backwoodsman.
Nonetheless, ranged on the credit side of the acting ledger, Sir Cedric Hardwicke gives an unforgettably powerful performance as the embittered Fleetwood, one of his most memorable studies in well-rounded heavies. He's a malevolent character in many respects, but you can't help feeling sorry for him. That's real acting. Probably Hardwicke's best role ever, eclipsing even his hard-hearted Ralph Nickleby. He certainly wipes out the rest of the cast - with the exception of Alan Marshal who makes an excellent foil as the tippling Roger.
If (Sir Cedric aside), the acting is largely second-rate, part of the fault can be attributed to the hokey script by Sidney Buchman of all people (Mr Smith Goes To Washing¬ton, The Talk of the Town, A Song To Remember). Its drama is forced, its humor unfunny, its dialogue often embarrass¬ingly amateurish. Hard to believe it's the same writer who did such a witty, polishing job on The Talk of the Town.
As a director, Frank Lloyd is not always skilful with players. Action and spectacle are his forte. Fortunately, The Howards of Virginia has its share of such scenes. Moreover, Lloyd is joined by Hollywood's most inventive montage expert, Slavko Vorkapich, in creating some thrilling pre-Revolutionary episodes of dispatch-riders galloping furiously to the assembly. The sets and locations are often breathtaking.
Best of all, is the music. Richard Hageman has constructed a wonderfully stirring score. The opening, credits in which the title card flashes on the screen orchestrated by the Liberty Bell, is one of the great moments of forties' cinema.