In 1884 lumberman Barney Glasgow leaves his true love, saloon singer Lotta Morgan, to marry Emma Louise, his bosss daughter. His buddy Swan Bostrom marries Lotta instead. Barney becomes a lumber magnate by stripping the Wisconsin forests, without re-planting. After 23 years, Barney finally visits Swan. Lotta has died, but Barney is smitten by their daughter Lotta Bostrom, who looks almost like her mother. His lavish attentions to Lotta create gossip and a rivalry between Barney and his son Richard.
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It seems that Edna Ferber wrote a novel about a robber baron's rape ofthe American wilderness and she felt it was adapted into a tawdry,Oedipal melodrama. To my eye and ear there's enough of both to make avery interesting experience.There Will Be Blood portrayed a minor oil magnate using family valuesas a pretext to earning peoples' trust only to be revealed as a meanspirited murderer. Edward Arnold's Barney character can be viewed insimilar light with a little more sympathy but no less a hole in hisgreedy heart.There are a number of reasons to watch this classic: Francis Farber'sonly great performance, Edward Arnold in a complex lead role, HowardHawk's directorial touches, Wyler's novelistic touches and an earlyHollywood encounter with Ecology. To me the film doesn't seem as old as1936. There's something that feels more mature in style and contentthat speaks of war and postwar America.I recall in the seventies the NY Film Festival had a revival and AndrewSarris eloquently stated the film's virtues. Well I tried to watch itabout 20 years later and I repeatedly couldn't get past the first 15minutes. I'm glad I kept trying.
One of the few chances that you will get to see Frances Farmer, who comesacross as a very decorative actress. She gets to play two roles in thefilm;both the mother and the daughter. However the film itself suffers fromstudio bound sets and a rather unconvincing story. The ubiquitous WalterBrennan appears playing a Swedish logger!!!
This review is from: Come & Get It (DVD) This is a great movie classic starring Edward Arnold and Joel McCrea and Walter Brennan. This is where two old friends love the same woman. One marries for riches and prominence the other marries the woman they both love. Times passes and now a daughter is born who looks exactly like his old flame. Edward Arnold tries to court her but his son falls for her. What will be the outcome? Check it out you'll enjoy this one. Also, Walter Brennan gives a wonderful performance.I hope that they will release on dvd Scudda Who Scudda Hey with Walter Brennan, Jeanne Crain and Lon McAllister anybody listening on this I sure hope so.
At 22 Frances Farmer gave the greatest performance of her career, playingtwo roles. She should have at least received an Academy Award nomination fortwo difficult and different roles. I like her best as Lotta Bostrom- theyoung but ambitious innocent. Edward Arnold is perfect as the ambitiouslumberjack and then business tycoon who falls for the the two Lottas. Thedrama of the older man falling for and obsessed for the young girl is afamiliar one, but Farmer and Arnold give it something special. The otherleads- Joel McCrea and Walter Brennan are also great in thir roles. Themovie is a fair bit different from the book by Edna Ferber.
A very wonderful film showcasing the talent of Edward Arnold. Thelatter was usually a supporting player but this film belonged to himall the way.He is the 1936 answer to Jean Brodie. This guy still thought 20 someyears later that he was still in his prime. I can never forget thevivid scene when he finally realizes that his prime has long sincepassed him by when he is literally vying for the affection of his lategirlfriend's daughter, who has fallen for his dashing son, played tothe hilt by Joel McCrea.In the double role of the girlfriend and her daughter, Frances Farmershowed that awesome vulnerability that she had in her brief career. Toobad that her years were marked by mental anguish. She would have been awonderful star of the screen.Walter Brennan put on an authentic Swedish accent and was rewarded forit with the Academy's first Oscar for best supporting actor. 11 yearslater, Loretta Young went Swedish as well, and that helped her garner asurprise best actress win for "The Farmer's Daughter."It's basically the old story of marrying into wealth rather than whatwould make you happy, but the film was done remarkably well.
Based on Edna Ferber's generational tale about the Wisconsin loggingindustry, "Come and Get It" (1936) is an excellent pairing of FrancesFarmer and Edward Arnold (best known for "Diamond Jim"). What I foundmost interesting is the incredible resemblance between Farmer andJessica Lange, who played her in "Frances" (1982). That film was asomewhat distorted account of Farmer's troubled life and was quite ahit with the activist crowd at the time of its release. In "Come and Get It" Farmer gets to play two roles, a bar girl(prostitute) and her grown daughter. Both portrayals are excellent, nosmall accomplishment given that the film was co-directed. Howard Hawksdirected the first scenes. He was replaced in mid-production by WilliamWyler. Any stylistic differences are obscured because the film jumpsahead 20 years at about the point where Hawks left the production. Wisconsin logger Barney Glasgow (Arnold) chooses to marry for money;leaving behind heart of gold bar girl Lotta (Farmer); with whom he isactually in love. 20 years later Barney meets Lotta's now grown-updaughter who is the spitting image of her decreased mother (not exactlyunexpected since the same actress is playing both roles).The now very rich Barney is used to getting pretty everything he wantsand he takes a fancy to his former girlfriend's daughter. This mightactually be Arnold's best performance as the film is really a showcaseof his character's sudden realization that he has grown old. It's notexactly happy ending stuff. The title comes from Arnold's final sceneas he summons his dinner guests to the table with the line: "Come andget it or we'll throw it to the dogs".Then again, what do I know? I'm only a child.
I had seen the original movie back in the late 1940's or early 1950's and have always had a scene in my head where at least one (maybe several) steam locomotives were on the tracks and moving in front of the depot building in Iron Ridge, Wisconsin. My parents lived only a few miles from it. I knew the area well!!!I was disappointed that there are no such scenes in this DVD version? Did I imagine the whole thing or was this version edited from the original movie?If anyone can answer my questions, please contact me. firstname.lastname@example.org
Howard Hawks is, of course, one of the two or three Hollywood directors(with Hitchcock and Ford) to be relied on for top entertainment. Whocan argue that? From "Scarface" to "Hatari!" by way of -- just to namea few -- "Only Angels Have Wings," "His Girl Friday," "Gentlemen PreferBlondes," "Red River," "The Thing from Another World" -- great picturesall. And "Come and Get It" is as good as the best of them.(Parenthetical note: Despite William Wyler's co-directing credit, thefilm was clearly developed and designed by Hawks -- there is nothing init that really suggests Wyler's work.) Surprising indeed, in that theleading role is played by one of my top ten un-favorite actors, EdwardArnold. But for once I bought him, hook, line and sinker. He's no goodwhen he's supposed to be "comic" ("Easy Living"), he overplays whenhe's supposed to be unpleasant ("You Can't Take It With You") but foronce he's a character -- not really unpleasant, but on the verge -- whoneeds our sympathy and -- not to give away the ending -- he gains ittotally with a simple but powerful reaction to the worst insult thisman can experience: "Leave him alone -- he's an old man." FrancesFarmer, in a well-differentiated dual role (she even goes so far as tosing as a contralto as one and a soprano as the other!), is excellentand astonishingly beautiful: she looks a great deal like Kim Novak, butbrighter and livelier. And the supporting performances -- from MaryNash and Mady Christians (here sympathetic but teamed the followingyear as two meanies in Allan Dwan's "Heidi"), to Walter Brennan (herewinning his first and THE first supporting actor Oscar) to Joel McCrea(second-billed but in a quite subsidiary role) to lovely Andrea Leeds,hunk Frank Shields and sardonic secretary Cecil Cunningham -- arefilled with delightful detail. Even the near-ten-minutesemi-documentary (beautifully scored by Alfred Newman) on the processof delivering lumber from the forest to the mill is exciting! The bestthing in the film: the McCrea-Farmer slapping scene (followed by ataffy pull). Delightful. Aside from this plethora of incidentalpleasures, the film's structure is deeply satisfying: well-developedscenes, lasting from five to ten minutes, each leading to a significantclimax (often humorous) and blackout. The rhythm is perfect. A greatpicture!
This review is from: Come & Get It (DVD) I almost had a caniption fit as I read some of these reviews. Heart-wrenching, a classic? My god, a classic is Birth of a Nation, Dinner at Eight, Mildred Pierce, A Place in the Sun, The Searchers. There is no way you can lump this programme filler with with those master art-works. While the film starts promisingly enough (the verisimilitude of real footage taken of tree logging was both refreshing and surprising amid the staginess of most mid-'30's films), none of the characters are subtle which could be due to the overacting of almost all the performers. Farmer as the girl in the first half of the film is really hamming it and uncomfortable with the characterisation, she is much more effective as the sweet and meek daughter in the second half. However the audience is never given an opportunity to connect with anyone. There is a wall up, not helped by the fact that the main character, Glasgow, is so ugly and repellent: we have no sympathy for him and don't much care what happens to him or anyone in his vicinity. There is absoloutely nothing heart-breaking about Lola's death as we don't see it, infact there is a sharp cut from her marriage to a scene twenty years later in which we discover from one line in a letter read aloud that she died. Not even "Lola" but "my wife twenty years ago." It's as if a large chunk of the movie has been edited out. We don't know how she died or when, apparently some time after her marriage of convenience. Did she commit suicide? After moments of wondering, we are whisked into a typical 1930's upperclass dining room scene, that only serves to make the audience dislike these characters, rendering any emotional involvement through the discovery of Lola's death, impotent. Because of the defects in the acting and directing, it would have been much more favourable to scrap all the emotional characterisation, which comes across as fake, and focus on the action sequences. Perhaps each scene should have been filmed at the logging mills and on location, turning it into an action film instead of a half-baked love triangle. The film can't make up its mind - is it a romance or a buddy movie? The schizophrenic feel of the piece (appropriate considering the leading lady would soon spend a decade in mental institutions) may be due to the fact that there are two directors, one being the superb William Wyler who most likely left the action sequences to the other director and 2nd Unit, and concentrated on Farmer's scenes. Indeed, he captures her strange beauty very effectively (as he did with all his screen ladies) and the scene at the end, she is lit more spectacularly than in any movie scene by any actress. However all this does is highlight the dullness of the movie. This "climax" in which Lola has to choose between father and son, should have left us as the audience riveted. The truth is we don't really care, preferring to be swept away by what she looks like. Contrary to popular belief, beauty, lighting and makeup can only enhance a classic, it can't make one. The fact that she chooses the son might makes some people complain that its cliche, but honestly, the writing and direction is such, that we know this is a foregone conclusion long beofre the first reel is over. However the film still served its purpose for me: I have been fascinated by Frances Farmer ever since I saw the Jessica Lange film, "Frances" and the ghost-written autobiography, "Will there really be a morning?" Both are infinitely more interesting than "Come and Get It" but it was satisfying to put a performance to the myth, as many of her films are unavailable and this is probably her most major movie and role. Compared to Wyler's "Jezebel" two years later, this movie is just a bunch of scenes looped together with a beginning and end but no real middle.
An enjoyable piece, due mostly to the charisma of the central characters.Arnold and Brennan were obviously having a lot of fun in their roles.Farmermakes a shaky start as character #1 (what's with that accent!) but redeemsherself completely as character #2. It's a energetic, feel-goodmovie.
I first saw this movie at a Frances Farmer film festival at UCLA back in the 1980's. Although I considered myself a classic film buff, I had never heard of her. I was awed by Ms. Farmer's breath-taking dual-role performance. They don't make 'em like that anymore. The supporting cast, Edward Arnold, Walter Brennan, and Joel McCrea, were also instrumental in making this movie the true classic it is. As noted by other reviewers, unfortunately for Ms. Farmer, apparent mental illness cut short a brilliant film career. A bio-pic of her life, starring Jessica Lange, showed Ms. Farmer's rocky life -- short as it was. For those who have no idea what this movie is about, Ms. Farmer plays a bar girl in a logging town in the late 1800's. She meets Edward Arnold ("Barney"), a brash and savvy logger, with plans to become the boss's partner and marry his daughter (why not -- it would help the plan along). This plan is upset when he meets this tough, yet, angelic bar girl, Lotta. The "throwing the trays" scene is unforgettable after Lotta tells Barney, who has just won a large amount of money on a game of chance at the bar, that the owner plans to have him mugged in order to get the money back. They have a whirlwind romance and plan to marry. He receives a telegram from his boss, who reminds him of his plans. Now Barney must make a difficult decision. Should he marry this girl he's madly in love with and perhaps throw away the opportunity to make partner or marry the boss's daughter for a chance at becoming the richest man in Wisconsin? He decides, leaving his best friend to break the news to her as she is getting dressed for their wedding. Fast forward 20 years. His best friend has married her, they have a daughter, and, after a few years, Lotta dies. The friend persuades Barney to come visit him. When Barney sees the daughter, who is the image of her mother, he falls for her, too. He persuades her to come with him to the big city (with her aunt as chaperon), and tries to seduce her. She understands what he intends all along, yet, she tries to get as much out of him as she can without giving anything in return. After all, this could be her ticket out of the small lumber town she's stuck in. Eventually, she falls in love with his son, Joel McCrea. After a few months, the son realizes what a fool his father has been making of himself, not to mention a nuisance (today we'd call it sexual harrassment), and they almost come to blows at Barney's company's annual picnic. Barney's dream is shattered when Lotta's daughter shouts to his son, "You can't hit him -- he's your father! He's an old man!" The ending of the movie still gives me goosebumps -- I have them now just remembering it -- as we see a sobbing Barney banging the triangle outside to call everyone over for dinner, who now realizes what an old fool he's been and what he's lost: his old love, his wife, the love and respect of his son, and his best friend.
This is an excellent film, and one with an interesting history youshould read before viewing it (check out Wikipedia!).According to Wikipedia, when Howard Hawks began directing it, the storywas about the rape of the land by a soon-to-be timber baron. ProducerSamuel Goldwyn wanted it to be about a timber baron who is involved ina romantic triangle with his son and a young lady. Goldwyn won, ofcourse, but had to fire Hawks and replace him with William Wyler. Ithink Goldwyn made the right decision.The beginning of the film is very interesting because of all the sceneson location in Idaho (not the northern midwest) of timber processingfrom the cutting down of trees, to their transport (before trucking),to their processing. But then the film does switch more to the romanceangle of the film, which is quite riveting as the timber baron turnsinto a dirty old man who makes a fool of himself.The father/timber baron was supposed to be played by Spencer Tracy, oneof my very favorite actors. And, he would have been excellent in it,but to be honest, Edward Arnold is perfect in the role. The son isplayed by Joel McCrea, and although his role is clearly secondary, hedoes a fine job in a key role. The female interest is Frances Farmer,and may I say I don't get it. I was not impressed by Farmer at all, andfrom my perspective she is the one defect in the film. A bright spot isWalter Brennan. You have to get used to his Swedish accent here, but hewon the first Academy Award for best supporting actor for this film!And, he's as wonderful as he almost always was.While the them of the rape of the land got sidelined, it doesn'tdisappear from the film altogether, but, in my view, the story of theemotional fall of a rich and powerful man is far more interesting.Highly recommend.
Seeing "Come and Get It" in the 21st century is every bit as sad and heart-wrenching as it was in 1936. That is the test of a classic. The fine directing by Billy Wilder and Hank Hawks still comes through and a cast of fabulous actors includes not only Frances Farmer but also the venerable Edward Arnold, the latterly-famous Walter Brennan and pretty boy Joel McCrea. They all deliver fine performances.Burly lumberman Barney Glasgow (Arnold) is forced to make a heartbreaking choice. Should he marry Frances Farmer, the woman he madly loves, or marry the lumber company owner's daughter to get the partnership he has dreamed of and earned. He chooses the latter, gets all he has dreamed of, and spends the rest of his life miserable.Meanwhile Barney's best chum, Svon Bostrom (Brennan) is a gentle and slightly simple fellow who marries Farmer instead. Barney stays away for decades and doesn't realize that his old friend and old flame have begat a daughter (also played by Farmer) who is mom's virtual clone, except more wholesome and angelic. Can and should Barney chuck it all and become a fool for love once he meets her or is he doomed to just be "an old man" and a sugar daddy?A touching story, indeed, and full of great small performances (like the Pullman Porter and the Band Conductor). Great acting is complemented by a good sense of place and time, and a haunting sound track largely based on civil war romance tune Aura Lee. Yes, the one Elvis stole for 'Love Me Tender.'In short, a truly great film and a must-see. You don't need to be a Frances Farmer obsessive to find this film delightful!
You could not find anyone better than Edward Arnold to play the roll ofBarney Glasgow.Walter Brennan [Swain] is an actors actor.Frances Farmer[Lotta] was believable in a duel roll.Joel McCrea [Edward Glasgow] wassuper.There are some movies than you do not want to see end because youwerepulled into it,this was one.
Howard Hawks, who directed this film stated that Frances Farmer was, without a doubt, the finest actress he ever worked with. In a dual role in which she excellently plays both a mother and daughter with honest conviction, Farmer is perhaps even more natural than say Barbara Stanwyck in her playing: she emerges, almost without emphasis, from out of the crowd at Arnold's elbow. He's at one of the gaming tables a lumberman who's just struck it rich and he naturally draws a crowd. When Arnold eyes Farmer, she says in her low voice "Hullo" her mouth crooked while chewing gum - she's an assured dame who doesn't take any baloney. Not a typical Hollywood beauty, the large - boned Farmer was an intellectual individualist who eventually ruined her career because of her egotistical independence which was deemed as mental illness. She was actually committed to institutions for the insane in the forties and her real life became a horror story. Alcoholic and lonely (after being released) she got a job in Eureka, California working as a secretary by day as Frances Anderson. She got away with her anonymity for about a year when a man approached her coming out of a liquor store. He said to her "You're Frances Farmer aren't you?" for reasons unknown to her she blurted out "Yes, I am - how did you know?" he replied "I remember you" and thusly encouraged her to revive her career somewhat. Farmer died of cancer of the throat in 1970. The excellent performance of look - alike Jessica Lange is worth seeing in the 1982 movie biography FRANCES.
Edna Ferber's novels weren't treated very well by Hollywood. This waspartly due to censorship. Her characters and plots had to be sanitized.The other problem was trying to digest novels which were grand in scopedown to less than two hours of film. This movie is another example of apoor transition of one of her novels to film.It seems that a lot of the film was spent showing scenes of timberbeing cut, rolling down the mountainside and floating down the river.Who cares!? The time would have been better spent on plot developmentand characterization.All of the actors did just fine with what they were given. Actors can'tdo much with a weak and dull script.However, Joel McCrea's part is so small that his talent is completelywasted in the role. Any contract player could have portrayed thecharacter, although I'm sure McCrea's name had box-office value.It's my opinion that this film is just not that good. There are manyother films of that age which are much better and stand up to thepassage of time. The best that can be said is that the print recentlyshown by TCM was in excellent condition.
Edna Ferber had several of her novels made into films including Giant,Showboat a couple of times and Dinner at Eight among the well known.Come and Get it is based on the Ferber novel adapted to the screen byJules Furthman and Jane Murfin. I grew up in the area where the storyis set. In the story the town is called Iron Ridge but Ferber did herresearch for the story while staying at the Burton House hotel in theold lumber and mining town of Hurley, Wisconsin on the Michigan borderwith Ironwood, Michigan. The Burton House was a grand old three story100 room wooden hotel that President Grover Cleveland once stayed at.It would burn down in the 1940's. In the character name Lotta Morganshe used the actual name of a famous Hurley saloon singer of the1880's. Actually, the real Lotta Morgan earned her living fromsomething other than just singing in the saloons. She was also anunsolved murder victim whose body was found floating in the river witha hatchet in her forehead. Ferber put together her romantic tale of thenorth woods and it's many lumber camps. This is a good movie set in thelate 19th century. Frances Farmer plays dual roles of mother anddaughter in the fourth leading role of her career and maybe her best.She would go on to star in only six more lead roles before beingrelegated to supporting actress in four more films and then her filmcareer was over. Edward Arnold, Joel Mcrea, Walter Brennan and MaryNash round out the fine cast. Howard Hawks directed and this was hisproject until an argument with the studio boss caused his dismissal andWilliam Wyler was called in to finish the film. ExcellentCinematography from Rudolf MatÃ© and Greg Toland. One of the last filmsof famed costume designer Omar Kiam. Walter Brennan won an Oscar forBest Supporting Actor in his role of the Swedish logger Swan Bostrom.The first of three career Academy Awards he would win. Come and Get italso received an Academy Award nomination for Edward Curtis for editingwhich was well deserved being that he had to put together the work ofthree directors, Hawks, Wyler and Richard Rosson who directed thelogging scenes. Farmer should have been nominated for Best Actress butwas over looked by the Academy for Irene Dunn, veterans from silentfilm days Gladys George, Carole Lombard, Norma Shearer and Germanactress Luise Rainer who won. The studio in promoting this film hadFarmer signing the book Come and Get it at autograph opportunities. Sheonce found it exceptionally strange that she would be signing a bookshe had not written when she was doing a signing at the Bon MarchÃ©department store in her hometown of Seattle where she had been firedfrom a few years before. I've seen this several times in televisionover the years and it's worth a look. I would give it an 8.0 out of 10.
What a great surprise! This is the only Frances Farmer movie I haveseen, and I have never seen Edward Arnold play such a multi-dimensionalcharacter -- and how well he does it.So many great moments: The first Lotta first singing Aura Lee in thesaloon, the bar-room fight, the first time Barney sees the young Lotta,the lovely quartet of "The Saucy Little Bird in Nelly's Hat", the taffyscene . . . and many more.But what I enjoyed the most was the dynamics between the characters:dynamics beautifully written and flawlessly executed. Barney' cleverwooing of Lotta I, the genuine friendship with Swan, the tension withhis son (even before the triangle develops), the camaraderie with hisdaughter, his stoic patience with his wife whom he married for money --all of these were richly done but with taut understatement. Even thefew scenes with his secretary are so neat: exuding the subtle tensionof two stiff wills who don't need to articulate the ways in which theyneed each other.Son Richard too, (played by Joel McRaea who seems to get short shriftin some reviews here), has some fine interplay with other characters.The taffy scene for sure. Also the office scene where Josie thesecretary, cool-as-you-please, plants the suggestion about his fatherand Lotta II. And what about that little give-and-take with his mother,when at breakfast he challenges her as to whether she "ALWAYS"addresses her husband as "Mr. Glasgow"? No need for a nudge-wink --just a quick look to complement the deft script.Frances Farmer as the 2 Lottas is stunningly gorgeous, obviously, butthat does not preclude her performance from keeping up with the others.She makes believable how Lotta I succumbs to Barney's blandishments,and her reaction when she is told that he has deserted her is almostcutting. As Lotta II, her ambiguous response to Barney's advances isperfectly done and contributes to the ongoing undercurrent of tensionthat I found pervasive throughout.Yes, Walter Brennan's Swedish accent seems a little much, but neverhaving talked to a Wisconsin Swede, who am I to judge? More importantis, again, the dynamics of his character Swan with the otherprincipals, such as the painfully delicious scene in the saloon when hetries to get a word in, edgewise, as Barney makes his moves on Lotta I.Beautifully written, beautifully executed. Partly because it was a surprise, I admit to being blown away by this73 year-old movie, and it gets a rare "9" from me.
Yeah? So, where IS the FRANCES FARMER Award or Scholarship?Everyone's profited from her - so? [Then again, there were/are so many ...... since then.]This rather staid adaptation of the Ferber novel [and here's another lady who should be canonized! Brilliant novelist- should be mandatory reading for any immigrant] hit the screen with Greats, Edward Arnold [that final close-up!]; Walter Brennan [unfulfilled career - Award winning here]; FRANCES FARMER [it's that John Wayne/Mae West swagger that gets you in the first incarnation - two roles here - mother and daughter - very subtle/economic] - THEN devastating as the daughter - just imagine what Frances would have done to 'Basic Instinct' or "Klute"?As we now know - A RARE talent way ahead of her time.The DVD is excellent - try watching it in German - with English subtitles - now that's an experience, and it brings a freshness to this quirky work.The title? Frances pre-dates Mr. Presley with this song .......... very authentic, but then we do have an artist at work.
This review is from: Come & Get It (DVD) Edward Arnold is one of my favorite actors of the Golden Age.............he was born to play big shots that are flawed, and he could play them with vulnerabity as in Capra's You Can't Take It With You. I liked Frances Farmer in the dual role......Excellent entertainment.