Seems to me that Frank Borzage was the only director in Hollywood to use movies to reflect events in pre-war Germany actually in Germany. Sure at its heart this is a big weepie built around an idealised love story but it is set against the backdrop of Weimar Germany in forment and while there's no mention in the script of Nazis or Hitler, the cause of the background unrest must have been fairly obvious to audiences of the day.
The film is well-known for being the one major screenplay bearing the name of F. Scott Fitzgerald, who'd at this stage in his career turned to Hollywood for work although it's been said that his final draft was just too florid as to be unfilmable and required some doctoring before shooting. I'm an admirer of Fitzgerald's literary works but I can see here where much of the dialogue would work better on the printed page as often here it does come across as prosaic and unnatural, not the way everyday people would speak. Of course the movie is an adaptation of a novel I've not read by E. M. Remarque, best known for his "All Quiet on The Western Front" which I have read and which seemed an altogether grittier and more realistic story than we get here.
The plot falls into place quickly after we meet the three idealistic young men, Taylor the romantic, Young the militarist and Tone somewhere in between and they pick up Sullavan, literally on the road, where she appears to be the mistress of a rich, older man, but of course she abandons him immediately to fall into line with her three new beaus.
So it's a kind of four musketeers story, only with one female member and I do get that some friendships are more ardent than others especially in troubled times, but the way that Young and Tone platonically adore Sullavan from the wings with seemingly no love interest of their own while Taylor walks off with the prize stretches credulity a bit and I got the impression it might have created a bit more dramatic tension if they'd perhaps competed for her affections.
Still they are four handsome leads and they do their best with what they're given, unlikely as it sometimes is, with Tone probably the best of them. Borzage directs with considerable visual style, capturing winter-time particularly well and I especially admired the overhead shot of Sullavan rising from her bed at the end, although the final scene of the fab four striding into the distance walks a fine line between being affecting and downright corny.
Still, compared to many another Hollywood film from around the same time, I was pleased to watch a film at least taking some sort of moral stand and reflecting contemporary events even if it was a little hard-going and hard to swallow at times.
The film is well-known for being the one major screenplay bearing the name of F. Scott Fitzgerald, who'd at this stage in his career turned to Hollywood for work although it's been said that his final draft was just too florid as to be unfilmable and required some doctoring before shooting. I'm an admirer of Fitzgerald's literary works but I can see here where much of the dialogue would work better on the printed page as often here it does come across as prosaic and unnatural, not the way everyday people would speak. Of course the movie is an adaptation of a novel I've not read by E. M. Remarque, best known for his "All Quiet on The Western Front" which I have read and which seemed an altogether grittier and more realistic story than we get here.
The plot falls into place quickly after we meet the three idealistic young men, Taylor the romantic, Young the militarist and Tone somewhere in between and they pick up Sullavan, literally on the road, where she appears to be the mistress of a rich, older man, but of course she abandons him immediately to fall into line with her three new beaus.
So it's a kind of four musketeers story, only with one female member and I do get that some friendships are more ardent than others especially in troubled times, but the way that Young and Tone platonically adore Sullavan from the wings with seemingly no love interest of their own while Taylor walks off with the prize stretches credulity a bit and I got the impression it might have created a bit more dramatic tension if they'd perhaps competed for her affections.
Still they are four handsome leads and they do their best with what they're given, unlikely as it sometimes is, with Tone probably the best of them. Borzage directs with considerable visual style, capturing winter-time particularly well and I especially admired the overhead shot of Sullavan rising from her bed at the end, although the final scene of the fab four striding into the distance walks a fine line between being affecting and downright corny.
Still, compared to many another Hollywood film from around the same time, I was pleased to watch a film at least taking some sort of moral stand and reflecting contemporary events even if it was a little hard-going and hard to swallow at times.