Very very predictable, including the post credit scene !!!

Touches You

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

This is a must-see and one of the best documentaries - and films - of this year.

No need to repeat the plot. Fortunately Arnold delivers a rousing performance. His big personality as the lumber tycoon helps distract from certain paunchy shortcomings as a screen lover. Seeing him in passion clinches with a nubile young Farmer takes some getting used to. Happily, Farmer also shines, especially in the saloon girl part, before giving way to a more routine turn as the daughter.According to film historian David Thomson, Farmer's performance was affected by Hawks' replacement by Wyler as director. Apparently, she and Hawks were more than sympatico off the set. So, Thomson's account goes, Hawks brought on writer Furthman to slant the film towards his beauteous blonde, thus causing novelist Ferber to complain to head honcho Goldwyn, resulting in Hawks' departure and a feud between Farmer and Wyler. I mention these behind-the-scenes shenanigans to maybe account for some of the plot's half-digested elements and Farmer's noticeable downturn.Nonetheless, it's still a compelling movie, thanks mainly to Arnold's dominating presence that holds the various threads together. I also like the logging footage, which lends a dramatically realistic air to Glasgow's empire. Then there's Lotta's haunting rendition of "Aura Lee", which evidently Farmer herself crooned. However, I'm still trying to figure out the title that appears to have little resemblance to the storyline. But however you cut that or the purported intrigues, it's still a dynamic movie.

What a great surprise! This is the only Frances Farmer movie I have seen, and I have never seen Edward Arnold play such a multi-dimensional character -- and how well he does it.So many great moments: The first Lotta first singing Aura Lee in the saloon, 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 taffy scene . . . and many more.But what I enjoyed the most was the dynamics between the characters: dynamics beautifully written and flawlessly executed. Barney' clever wooing of Lotta I, the genuine friendship with Swan, the tension with his son (even before the triangle develops), the camaraderie with his daughter, his stoic patience with his wife whom he married for money -- all of these were richly done but with taut understatement. Even the few scenes with his secretary are so neat: exuding the subtle tension of two stiff wills who don't need to articulate the ways in which they need each other.Son Richard too, (played by Joel McRaea who seems to get short shrift in some reviews here), has some fine interplay with other characters. The taffy scene for sure. Also the office scene where Josie the secretary, cool-as-you-please, plants the suggestion about his father and 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, but that 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 almost cutting. As Lotta II, her ambiguous response to Barney's advances is perfectly done and contributes to the ongoing undercurrent of tension that I found pervasive throughout.Yes, Walter Brennan's Swedish accent seems a little much, but never having talked to a Wisconsin Swede, who am I to judge? More important is, again, the dynamics of his character Swan with the other principals, such as the painfully delicious scene in the saloon when he tries 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 this 73 year-old movie, and it gets a rare "9" from me.

COME AND GET IT has a very strange cast. Having the reliable and talented supporting actor, Edward Arnold, in the lead is strange--especially since this rotund and rather doughy guy is cast as, believe it or not, a lumberjack when the film begins! Seeing him supposedly fight and beat up tough guys seemed pretty funny--especially since Arnold looked as if he'd have had a hard time beating up Frances Farmer--let alone burly lumbermen!! Additionally, having him play a very flawed hero who has a penchant for a very young lady (Frances Farmer) make it an unusual film.The film begins with Arnold being made the foreman of a logging company. However, his ambition is huge and he immediately has his sights set on running the entire company. So, to do so he agrees to marry the boss' daughter even though he could care less about her. Additionally, he'd just fallen in love with a spunky saloon singer (Frances Farmer--in a dual role). Regardless, his ambition is primary and he dumps farmer on his pal, played by Walter Brennan (who received an Oscar for his performance as a nice Swedish guy).Years pass. You see that Arnold's wife is a bit of a cold fish, though they did have some kids and they now own the company. Arnold just happens to visit his old pal Brennan and finds that through the magic of Hollywood clichés, Brennan's daughter (played by Farmer again) is the spitting image of her deceased mother. Arnold is an old lecher and takes her under his wing--with the intention of recreating the relationship he'd had with her mother. When his oldest son (Joel McCrea) finds out, he goes to confront the lady but falls for her instead. Naturally, this sets the son and hard-driven father against each other.Considering that this is based on an Edna Ferber novel, it isn't surprising that the film is about a man building an empire as well as infidelity--recurring themes I've noticed in several of her other films that were filmed during the era (such as CIMARRON, GIANT, SHOWBOAT and SO BIG). As a result, the film has a big and rather sweeping quality about it but is also a study of a hard-driven man who is deeply flawed.Overall, the movie is exactly what you'd expect from such a film--good acting, big scope and a lot of romantic tension. Nothing extraordinary here, but it's enjoyable and competently made. I can't, however, understand how Brennan got an Oscar, as this was far from one of his best performances. Perhaps it was a slow year.

"Come and Get It!" (1936) Richard Glasgow is busy proving his worth in his father's lumber empire. That is proving difficult. Daddy's not interested in replanting and replenishing the land. He has a hard time accepting Richard's new ways and product inventions.On top of that, Father (Edward Arnold) and Richard (Joel McCrea) are vying for the love of the same young woman, Lotta (Frances Farmer). That is also proving difficult. Timber Baron Barney Glasgow loved her mother, Lotta, but he chose to marry the boss's daughter (who is still living). And that move brought him the timber company.Lotta married Barney's best friend Swan (Walter Brennan) and they had young Lotta. She's her mother's spitting image. Now son Richard is interested in Swan's daughter and she in him. They make a lovely couple. Needless to say Barney, doesn't like this arrangement. He's in love. Well, like they say, "There's no fool like an old fool." It's not a great movie but it and the cast is good and there are lessons to be learned. See it if you get a chance.