Claude-Rains Movie Reviews

This was John Garfield's first part in a film, and it made him an overnight star; the audience loved him, and he broke the mold of the leading man image, with his surly arrogance, and brooding look. The film also changes tone from a sweet family film, to a melodrama, when he makes his entrance 1/3 of the way into the plot. He plays a talented but down-and-out pianist, a man whose attitude makes him a perennial loser.

Based on a Cosmopolitan Magazine story, "Sister Act", by Fannie Hurst, and directed by Michael Curtiz, it features the lovely Lane sisters, Gale Page, and Claude Rains, as a musical family that also includes May Robson as the very amusing "Aunt Etta".
Priscilla Lane is the sister with the central part, as she is the one in the love triangle between Garfield, and Jeffery Lynn. Lynn is excellent, and had the looks that the movie studio thought would assure him stardom, but though he was in several fine films, seldom had top billing in them.

Nominated for the 1938 Oscars in the categories of Best Picture, Best Supporting Actor (Garfield), Best Screenplay and Sound, it has a fine Max Steiner score, a few musical numbers, and wonderful performances. It is an entertaining classic which is sometimes touching, always charming, and a must for Garfield fans.

This was the first "Rebel Without a Cause" and it was released before World War II. "Four Daughters" came out in 1938. This was John Garfield's first movie role. When he first appears on screen, about one-third of the way into the film, the mood of this movie changes, big time. What was a light and simple movie becomes actually somewhat dark and even complex. Garfield creates a character on screen that captures your attention and keeps you guessing. The other key characters all seem to be living in a kind of fantasy world, the world of "Father Knows Best", while Garfield appears alone, dark and disconnected from everyone and living in the world we know today as film noir.

Clearly Brando, Dean, and those "rebels" that followed in the 1950's movies were copying the style, the mood, the look of John Garfield from this film. He was the first young movie "rebel" who is alone and searching for meaning in his life and having a tough time. What a surprise to find a dark character like this in a movie that starts off so happy and go-lucky.

Enjoy the film.

I very higholy recommend this one. Claude Raines plays the father of four daughters. It's romantic as well as dramatic. In my opinion John Garfield is the best in the film, and really makes the film worth seeing all the more. He plays a misunderstood and romantic composer.

To any baby boomer who grew up in the 1950's, there must be a special place for THE PIED PIPER OF HAMELIN. It was one of the first made for TV movies and one of the first in color even though very few people had color sets back in 1957. It also helped to introduce classical music to a much wider audience as it makes extensive use of the music of Edvard Grieg. The film is loosely based on the Robert Browning version of the Pied Piper story. The dialogue is even in rhyme though not from the poem. This is the only movie that I remember Van Johnson for. He's a good leading man as Trueson but he makes a great Pied Piper. Claude Rains, late in his career, is ideal as the devious Mayor and shows us with that magnificent voice of his how to deliver even the weakest lines of dialogue with conviction. It's also a rare opportunity to view Doodles Weaver (Sigourney Weaver's uncle) who was a mainstay with Spike Jones. Jim Backus gives us an early glimpse of Thurston Howell III as the King's emissary while 50's torch singer Kay Starr gets to mourn the loss of her child to ASA'S DEATH from PEER GYNT. It is not a great movie but it evokes wonderful memories of childhood even if you didn't see it as a child. The strong cast and the music of Grieg especially the ridding of the rats done to IN THE HALL OF THE MOUNTAIN KING help to make up for the film's shortcomings. The rich old style Technicolor and the obvious studio sets give it the feel of an old HALLMARK HALL OF FAME presentation which adds to the charm. Old fashioned it may be but it still has the power to cast a spell and that makes it a welcome addition to any household with young ones or those who are young at heart. Be advised that this film is in the public domain (that's why there are so many different videos) and the prints are a little rough in places but overall the quality is very good.

I highly recommend this film, and would give it more stars if I could. Van Johnson is great as the Pied Piper. This movie is for people of all ages. It's well worth seeing!

To any baby boomer who grew up in the 1950's, there must be a special place for THE PIED PIPER OF HAMELIN. It was one of the first made for TV movies and one of the first in color even though very few people had color sets back in 1957. It also helped to introduce classical music to a much wider audience as it makes extensive use of the music of Edvard Grieg. The film is loosely based on the Robert Browning version of the Pied Piper story. The dialogue is even in rhyme though not from the poem. This is the only movie that I remember Van Johnson for. He's a good leading man as Trueson but he makes a great Pied Piper. Claude Rains, late in his career, is ideal as the devious Mayor and shows us with that magnificent voice of his how to deliver even the weakest lines of dialogue with conviction. It's also a rare opportunity to view Doodles Weaver (Sigourney Weaver's uncle) who was a mainstay with Spike Jones. Jim Backus gives us an early glimpse of Thurston Howell III as the King's emissary while 50's torch singer Kay Starr gets to mourn the loss of her child to ASA'S DEATH from PEER GYNT. It is not a great movie but it evokes wonderful memories of childhood even if you didn't see it as a child. The strong cast and the music of Grieg especially the ridding of the rats done to IN THE HALL OF THE MOUNTAIN KING help to make up for the film's shortcomings. The rich old style Technicolor and the obvious studio sets give it the feel of an old HALLMARK HALL OF FAME presentation which adds to the charm. Old fashioned it may be but it still has the power to cast a spell and that makes it a welcome addition to any household with young ones or those who are young at heart. Be advised that this film is in the public domain (that's why there are so many different videos) and the prints are a little rough in places but overall the quality is very good.

I highly recommend this film, and would give it more stars if I could. Van Johnson is great as the Pied Piper. This movie is for people of all ages. It's well worth seeing!

To any baby boomer who grew up in the 1950's, there must be a special place for THE PIED PIPER OF HAMELIN. It was one of the first made for TV movies and one of the first in color even though very few people had color sets back in 1957. It also helped to introduce classical music to a much wider audience as it makes extensive use of the music of Edvard Grieg. The film is loosely based on the Robert Browning version of the Pied Piper story. The dialogue is even in rhyme though not from the poem. This is the only movie that I remember Van Johnson for. He's a good leading man as Trueson but he makes a great Pied Piper. Claude Rains, late in his career, is ideal as the devious Mayor and shows us with that magnificent voice of his how to deliver even the weakest lines of dialogue with conviction. It's also a rare opportunity to view Doodles Weaver (Sigourney Weaver's uncle) who was a mainstay with Spike Jones. Jim Backus gives us an early glimpse of Thurston Howell III as the King's emissary while 50's torch singer Kay Starr gets to mourn the loss of her child to ASA'S DEATH from PEER GYNT. It is not a great movie but it evokes wonderful memories of childhood even if you didn't see it as a child. The strong cast and the music of Grieg especially the ridding of the rats done to IN THE HALL OF THE MOUNTAIN KING help to make up for the film's shortcomings. The rich old style Technicolor and the obvious studio sets give it the feel of an old HALLMARK HALL OF FAME presentation which adds to the charm. Old fashioned it may be but it still has the power to cast a spell and that makes it a welcome addition to any household with young ones or those who are young at heart. Be advised that this film is in the public domain (that's why there are so many different videos) and the prints are a little rough in places but overall the quality is very good.

I highly recommend this film, and would give it more stars if I could. Van Johnson is great as the Pied Piper. This movie is for people of all ages. It's well worth seeing!

Pygmalion is a brilliant success by George Bernard Shaw to modernize the legendary Greek tale of a sculptor who falls in love with his artsitic creation and wishes to bring her to life. The rags-to-riches tale of Eliza Doolittle captivates the reader with its fast paced storyline, and witty dialogue. Shaw fascinates the reader with complicated characters such as Henry Higgins, Doolittle, and Colonel Pickering. Set in England, during a period of sophistication and elegance, Higgins and Pickering were faced with the seemingly impossible task of transforming a filthy flower girl (Eliza) into a beautiful duchess. The outrageous antics that ensue are both humorous and entertaining. Shaw's playful dialogue and timeless plot have been updated to fit the social and cultural standards of our time. For example, Alan Jay Lerner's My Fair Lady is an internationally acclaimed musical adaptation of Shaw's classic play. 1999 brought yet another adaptation of Pygmalion, in the form of the film She's All That, penned by R. Lee Fleming Jr. This teen comedy brings a new twist to the classic characters of Shaw's play. Pygmalion is a quick read and an enjoyable way to spend the day, and the characters in the story will remain with you forever.

Cockney flower girl Eliza Doolittle's life changes the night she meets arrogant professor of linguistics, Henry Higgins. Eliza wants Henry to teach her to speak more like a lady so she can get a nice job. Henry only decides to teach her after making a bet with his pal, Col. Pickering, that in six months he'll be able to pass Eliza off as a duchess.

If that plot seems familiar to you then you've seen the movie "My fair Lady" which is based on this book. I think it's pretty safe to say that if you liked that movie you'll like this book. This book's witty dialogue and cracks at England's social structure had me giggling out loud on more than a few occasions. Actually the whole book is a quick, fun read that I'd recommend to pretty much everyone.

Just in case you didn't know it, both Leslie Howard and Wendy Hiller were heavy weight British acting talents. Howard was even a major star in American movies and is mainly remembered for playing Ashley Wilkes in "Gone With The Wind." This is a very different role for him from that role. Wilkes and Hiller were both perfect for the roles of Eliza Doolittle and Henry Higgins, the cockney flower girl who is tutored by the linguistics expert to turn her into a lady. Many people don't like watching the original play because it doesn't end happily with the two together as it does in its musical version, "My Fair Lady." However, the filmmaker saw the writing on the wall here, even before the musical came out, and makes one change only to the Bernard Shaw play, that ending. So here too we have the happy ending. This is as fresh and perfect as the day it was made. Every word of dialogue counts and is perfect in this satire of the British class system. Every character is superb and I especially loved every moment Alfred Doolittle, the epitome of the lower classes kicked into the middle class, was onscreen. Hubby watched it with me and remarked several times, "I can't believe how good this is." Frankly, even I was surprised that this black and white film from the 1930s, set then as well, is in no need of a remake whatsoever. A true classic that no one should miss.

In 1937, the Brothers Warner acquired a unique movie property - identical twin boys named Bobby and Billy Mauch; they looked so much alike that only their mother could tell them apart. Inevitably, the studio decided to cast them in Mark Twain's THE PRINCE AND THE PAUPER. The fanciful tale was not only a natural for the Mauchs but had great timeliness because it includes scenes of an English coronation. It's the story of mistaken idenity involving Prince Edward, son of King Henry VIII, and Tom Canty, a beggar boy. The confusion begins when the Prince takes the Pauper to the palace to play and for fun they swap clothes. Beholding themselves in a mirror, they are amused in that they look exactly alike!............Errol Flynn does well in his role as Miles Hendon, a soldier of fortune and Claude Rains in excellent as usual. Although a lively, enjoyable comedy, this picture proves the Mauch Twins did not a great movie make, it is, however a colourful production nevertheless.

The Prince & The Pauper is based on the much loved Mark Twain classic. In a nutshell, the plot centers around twins, one the spoiled heir to the English throne, a other a begger with a heart of gold. When the two accidentally cross paths they become best friends and secretly trade places, much to the chagrin of one of the king's advisors (Claude Rains) who is plotting to kill the heir and take over himself. Enter into this fray a fortune hunter (Errol Flynn) who vows to set everything right for king, country and a healthy financial reward. It all ends pleasantly enough in a sword and swashbuckling sort of way.
WARNER HOME VIDEO gives us a handsome looking transfer that is sure to please. The gray scale has been impeccibly balanced with solid blacks and very nice renderings of fine detail. Certain scenes exhibit a touch of edge enhancement and a hint of pixelization, but nothing that will distract from this visually stunning film adaptation. The sound elements are somewhat disappointing by contrast. The main title sequence in particular sounds as though the music track was discovered under a rock. Nevertheless, dialogue - for the most part - is presented at an adequate listening level with only the slightest of pops, scratches and hiss.
EXTRAS: An essay and theatrical trailer - BIG DEAL!
BOTTOM LINE: The Prince & The Pauper is a visually stunning movie that, although straying somewhat from Twain's original intent, is nevertheless faithful enough to remind us why his name continues to be among America's greatest literary talents. The transfer is solid. I recommend this DVD!

In 1937, the WB, capitalizing on Errol Flynn's spectacular performances in CAPTAIN BLOOD and THE CHARGE OF THE LIGHT BRIGADE, cast him in four films, with varying degrees of success. The best, by far, was William Keighley and William Dieterle's production of the Mark Twain classic, THE PRINCE AND THE PAUPER, where he supported new WB 'discoveries' Billy and Bobby Mauch, portraying London urchin Tom Canty and his look-alike, Prince Edward Tudor. The twins were gifted, young (12 at the time of the filming) actors, with a Freddie Bartholomew-like quality of engaging innocence, and they gave this version of the oft-filmed tale a sense of reality that split-screen performances by a single actor could never achieve.

The story is an engaging one, as young Canty, inspired by his mother and a local priest to dream of a finer life than his father, an ill-tempered beggar (Barton MacLane) could provide, sneaks onto the grounds of Buckingham Palace. There, he meets young Prince Edward, who is thrilled to meet a boy his own age...and, after cleaning him up a bit, is astonished to discover that the pair could pass as twins. Edward decides this is a golden opportunity to see what life outside the Palace is really like, so, against Canty's misgivings, the two exchange clothing, and the Prince leaves...creating far more of an uproar than either boy could ever imagine!

Canty is soon considered 'mad', as he insists he is not Edward, and the Prince, abused and ridiculed by Tom's father, is unceremoniously thrown off the Palace grounds when he attempts to return, by a disbelieving Captain of the Guards (Alan Hale, in the first of 12 films he'd make with his friend, Errol Flynn). The ambitious Earl of Hertford (the always brilliant Claude Rains) investigates Canty's claim, and realizes, after interviewing the Captain, that the boy is telling the truth, giving him a golden opportunity to seize power. Ordering the Captain to find and kill the Prince, the Earl then threatens to kill Canty if he doesn't obey his commands.

Things grow desperate for the young Prince, as he attempts to evade his murderous 'father' on the streets, until Miles Hendon (Flynn), a roguish but good-natured 'soldier-for-hire' comes to his aid. Offering his protection to the lad, Hendon thinks him a bit balmy, as well...until events (the child's obvious despair over the death of Henry VIII, the Palace search party, and a sword duel with the Captain, where Flynn KILLS Alan Hale!!!) convince him otherwise. Then it becomes a race against time to smuggle the real King into the Coronation, before Canty is crowned, and the Earl assumes "the Power behind the Throne".

Blessed with a gifted cast, including wonderful character actor Montagu Love as the dying Henry VIII, the film offers a truly exceptional film score by Erich Wolfgang Korngold (who would eventually expand the theme into a symphonic work). Audiences have always been surprised that Errol Flynn's role is not larger, but as a faithful Twain adaptation, the focus had to be on the two boys, and not on the impoverished soldier. Flynn had fun playing Hendon, and the Mauch twins were nothing less than superb as the leads.

With THE ADVENTURES OF ROBIN HOOD less than a year away, and Errol Flynn's star continuing to ascend, the WB had every reason to celebrate, and THE PRINCE AND THE PAUPER is a pleasure to watch, to this day!

I checked this out of the library on the recommendation of Julian Lloyd Webber (in his "Travels with my Cello"). I didn't expect it to good; I expected it to be good fun, like the equally idiotic but inadvertantly hilarious "Humoresque" (another 1946 movie having to do with the fledgling career of a string player, promoted by a dark, emotionally unstable, woman caught between two lovers). Well, I was disappointed. It's idiotic, all right, but it isn't any fun--or, rather, it wouldn't be except that the cello concerto depicted within was written (in real life) by Erich Korngold, and it's brilliant! Six stars for the music; zero stars for the movie.

Looks like I'm going to go against quite a few of the other reviewers for this film by not praising it wildly. The story is quite basic. Pianist Bette Davis reunites with former love Paul Henreid, a cellist, hiding from him her love affair with composer and musical genius Claude Rains. Of course, one lie naturally leads to others, until she finds herself backed into a corner trying to save her marriage and her husband's future. All of this is played against a backdrop of unreal sets and dramatically charged classical music. The whole premise is a difficult one to believe, although it is buried beneath lots of bravado acting, interesting dialogue, and sometimes laughable bits of conflict and action. Rains seems to be having a great time as the flamboyant, manipulative composer, biting into the dialogue and exploiting it for all its worth. He overpowers his co-stars, but he and Davis are good together. Henreid attempts to give more of a performance than I have seen in other films, but he never stands a chance with this cast. For me the grand gestures, the grand acting, the grand music, the grand dialogue was ... well ... too grand! Director Irving Rapper needed to get a better handle on the film. It seems a little out of control. It's not a horrible film, but by the end I found myself thinking, "What was that all about?!?!?"

Bette has deserted a world-famous conductor (Rains, in a bravura performance which overshadows Davis) for an old love, a violinist (Henreid); when the former turns up at the wedding reception, Davis says feebly (if that adverb could ever be applied to her behaviour) that there hadn't been enough time to send an invitation..........With poise, Davis continues to eat her meal, while Rains observes that the caviar is over-chilled: but they don't ignore the situation - "Have one husband, have eight" Says Rains in his matter-of-fact way "but you'll come back to me". Memorable moments in the movies generally have nothing to do with real life, and an artificial pleasure contained in this one is watching LaDavis wolf down her smoked turkey as if nothing in the world has happened. The vibrant intelligence of Davis could make endurable, if not save, a film as absurd as DECEPTION. This one is about good music, and at Warners, where good music was concerned - it was class all the way. Davis shoots Claude Rains on the grandest of grand staircases in this film; since Bette's penthouse must be the biggest in New York, the emotions on display are of the same size. Irving Rapper (NOW, VOYAGER) directed this grand opera-ish melodrama of which Davis repeatedly remarked had a phoney, contrived script; it is however, a treat for Davis and Rains addicts.

A brilliant dark comedy about a dead gangster restored to life in the body of an honorable man (his look-alike). Paul Muni plays the protagonist well, but the film is stolen by Claude Rains as the Devil---one of Rains's all-time best performances. It's an absorbing film, splendidly directed, with an intelligent script that's immensely funny. Deserves a new life.

Eddie was rightfully bumped off by gangsters. You know where he goes. "Nick" (Claude Rains), offers a choice position in exchange for a favor. There is an incorruptible judge that needs corrupting. Now if Eddie would just impersonate him and be corrupted? Well you get the idea.
There is great interaction between Paul Muni and Claude Rains. This move takes unexpected twists and turns. I may remind you a little of "The Devil and Daniel Webster "(1941) ASIN: 6302919517. However no one can play "Nick" as well as Claude Rains I kind of like the way they return to the surface. I never trusted those types of elevators. Before you write off Anne Baxter as just another personality in this film remember that she was also Nefretiri in " The Ten Commandments" (1956) ASIN: 6300215830

The popularity of "Angel on My Shoulder" spans seven decades. This 1946 classic film stars Paul Muni, Claude Rains, and Anne Baxter. Originally written by Harry Segall, it is the reverse telling of his earlier work, the stage play "Heaven Can Wait", (which was adapted for the screen as "Here Comes Mr. Jordan" and remade in 1978 by Warren Beatty). Whereas "Heaven Can Wait" is the story of a man who's prematurely sent to Heaven, "Angel" tells the tale of a mobster, Eddie Kagle, who is sent to Hell after he's gunned down by his best friend. The Devil gives him an opportunity to spend a few days back on Earth to seek revenge. While there, Eddie manages to redeem himself... much to the Devil's chagrin. It's a clever re-telling of Faust.

Both "Here Comes Mr. Jordan" and "Angel on My Shoulder" not only spoke to the era in which they were made, but also became classics in their own right. Despite the fact that "Angel" was produced during the tail end of World War II, it continues to be enjoyed by audiences year after year. Its heartwarming comedy and central theme of redemption have stood the test of time.

Paul Muni plays the lead with much charm, while Claude Rains is a debonaire Devil. There's a few loose ends in the story's structure and non-organic characters whose only purpose is to serve a utility function. However, in the end the overall film delivers an entertaining viewing... and afterall, isn't that the bottom line?

Current rumor has it that a re-make is in the works with a major actor to play the lead. I personally can't wait to see the update.

A brilliant dark comedy about a dead gangster restored to life in the body of an honorable man (his look-alike). Paul Muni plays the protagonist well, but the film is stolen by Claude Rains as the Devil---one of Rains's all-time best performances. It's an absorbing film, splendidly directed, with an intelligent script that's immensely funny. Deserves a new life.

Eddie was rightfully bumped off by gangsters. You know where he goes. "Nick" (Claude Rains), offers a choice position in exchange for a favor. There is an incorruptible judge that needs corrupting. Now if Eddie would just impersonate him and be corrupted? Well you get the idea.
There is great interaction between Paul Muni and Claude Rains. This move takes unexpected twists and turns. I may remind you a little of "The Devil and Daniel Webster "(1941) ASIN: 6302919517. However no one can play "Nick" as well as Claude Rains I kind of like the way they return to the surface. I never trusted those types of elevators. Before you write off Anne Baxter as just another personality in this film remember that she was also Nefretiri in " The Ten Commandments" (1956) ASIN: 6300215830

The popularity of "Angel on My Shoulder" spans seven decades. This 1946 classic film stars Paul Muni, Claude Rains, and Anne Baxter. Originally written by Harry Segall, it is the reverse telling of his earlier work, the stage play "Heaven Can Wait", (which was adapted for the screen as "Here Comes Mr. Jordan" and remade in 1978 by Warren Beatty). Whereas "Heaven Can Wait" is the story of a man who's prematurely sent to Heaven, "Angel" tells the tale of a mobster, Eddie Kagle, who is sent to Hell after he's gunned down by his best friend. The Devil gives him an opportunity to spend a few days back on Earth to seek revenge. While there, Eddie manages to redeem himself... much to the Devil's chagrin. It's a clever re-telling of Faust.

Both "Here Comes Mr. Jordan" and "Angel on My Shoulder" not only spoke to the era in which they were made, but also became classics in their own right. Despite the fact that "Angel" was produced during the tail end of World War II, it continues to be enjoyed by audiences year after year. Its heartwarming comedy and central theme of redemption have stood the test of time.

Paul Muni plays the lead with much charm, while Claude Rains is a debonaire Devil. There's a few loose ends in the story's structure and non-organic characters whose only purpose is to serve a utility function. However, in the end the overall film delivers an entertaining viewing... and afterall, isn't that the bottom line?

Current rumor has it that a re-make is in the works with a major actor to play the lead. I personally can't wait to see the update.

A corpse-like Paul Muni stars as Benito Juarez, the Mexican leader who helped established democracy in his country, fighting against Emperor Maximilian von Habsburg, who had been made head of the country through the machinations of Napoleon III. From the outset, the unwanted Emperor is doomed, since he does not have the support of the people, and he is fighting against a man universally respected by the Mexicans. Muni is heavily made up and does not change his expression from beginning to end. To say he is understated would be putting it mildly. Brian Aherne is quietly affecting as the Emperor, a man I suspect could not have been as saintly as portrayed here. Bette Davis is the Emperor's wife, Carlotta. She uses her famous eyes to great effect as a woman who can barely contain her emotions, until a remarkable moment near the end when Davis lets loose. Claude Rains again steals scenes, this time as Napoleon, while the rest of the supporting cast is saddled with less than riveting dialogue and barely registers. The dialogue and direction is pretty heavy-handed and preachy at times, needing a dose of energy. It's a safe bet that the history is inaccurate (Warner Brothers had a poor track record with this), but that can be overlooked if the drama makes up for it. The sets and costumes establish the period well, but the film really never gets going enough, needing more drama and action to inject some life. It's not a bad film at all, but I expected more.

This historical drama, directed in 1939 by William Dieterle, tells the tale of Mexican Independence in terms of a political soap opera. Napoleon III (Claude Rains) appoints Maximilian von Habburg (Brian Ahenre) to be Emperor of Mexico. However, Maximilian and his wife Carlotta (Bette Davis) discover they face bitter opposition from the Mexican people, who obviously want the democratic government their President, Benito Juarez (Paul Muni) has been trying to establish. Maximilian is sympathetic, but the day he and his wife adopt a Mexican child as a sign of their good faith, the exiled Juarez has a French munitions supply destroyed. In response, the Emperor signs a decree that allows the government to execute anyone committing acts of agression against the French authority. When President Lincoln lends money to the Juarez cause and asks Napoleon to withdraw French troops with Mexico, Maximilian realizes he is just a political pawn in a tragedy that has to be played out.

"Juarez" is a pretentious film, weighed down by all the history it is trying to impact, that does have several good moments in terms of the performances, most notably when Carlotta begs Napoleon for aid and then descends into madness. Davis provides a nice understated performance, while Muni is excellent and always and Aherne turns in a credible performance as the doomed Emperor. The end result is quite reminiscent of "Nicholas and Alexandra," the tragic tale of a somewhat enlightened monarch caught up in historical forces moving much too fast. John Garfield, Donald Grips, Gilbert Roland, Louis Calhern and Gale Sondergaard round out the excellent ensemble. "Juarez" was based in part on the play "Juarez and Maximilian" by Franz Werfel and Bertita Harding's book "The Phantom Crown."

This hollywood classic stays pretty close to the history for a change. In clear B&W this film has all the little touches of 1930s productions, but considering its time period it is pretty heavy as far as the history is concerned. This is no light weight "Gone With the Wind" set in Mexico. Betty Davis as Carlotta, who was actually a Belgium princess married to Maximillian, is great. This is a real substantial, historical role for her to play for a change. The way she lets lose at the end at Napolean III, played brilliantly by Claude Reines is classic. Her dovation to her doomed husband is accurately played, showing the mental unbalance that later overcame Carlotta at the end.

Louis Napolean's adventure in Mexico was typical of the politics of the parveneau emperor. With all the show, but none of the talents of his great grandfather, Louis Napolean soon embroiled France in a conflict that resembled the Iberian Peninsular of 1808. Another debacle where the French had to contned with a People's Movement. Marshall Achille Bezaine, shown briefly in the film, could never completely conquer the Juaristas. There were some famous actions in this conflict, including the celebrated stand by a handful of French Foreign Legion against three thousand Mexicans at Camerone. But such heroics were not enough to win the land for an imported Hapsburg monarch via France. Paul Muni plays a grim and determined Juarez. His portrayal is not that far off from the truth. For a big budget Hollywood epic this movie gets itself into some pretty weighty issues, such as the inner Mexican conflicts between natives and those of imported Spanish blood, and the loyalties of some of Maximillan's officers, including the native born Tomas, who all came to grief in the end.

While some events may be condensed to fit a 2 hr movie, this production gets high marks for being as truthful as possible. This is no boring historical epic, the action is pretty non-stop. The character of Maximillan himself is brilliantly played. A decent man who got himself mixed up in bad politics. Even to this day Mexicans may hate the circumstances that brought him to their country, but they remain sympathetic to the man himself. Those wanting a big budget classic from the 1930s, with some fine acting and good historical content should find a happy marriage between all three here.