Today We Live

This love story set during WW I, is a pretty boring affair despite of the casting of a young Gary Cooper and a Beautiful Joan Crawford.There seems to be no Chemistry between the two leads.Robert Young as the third part of the triangle is perhaps a bit old for his role,but pulls it off quite well.The only real chemistry with Crawford has the actor playing her brother,Franchot Tone, he gives perhaps the best performance in the movie together with Cooper's sidekick Roscoe Karns. Crawford and Tone fell in love during the shooting of this movie and it shows quite clearly in their scenes together.The aviation scenes are what really saves this movie.They're excellently made considering the vintage of this film.Too bad the rest of the story is so boring.

That's pretty much the highlight and only point of interest to watch in this film. Crawford was freshly divorced from Douglas Fairbanks, Jr. She and Franchot Tone fell in love and started their romance, ultimately leading to marriage, while making this film. Since their characters are brother and sister; it's very interesting to watch the passion and "familial" kisses between them that is a LOT more potent than between Joan and her other two leading men, who were SUPPOSED to be the love interests.

Although the story was based on a William Faulkner novel, it is NOT very true to the book .... since there was NO female character like Joan's in the book. MGM wanted to use Crawford and had Faulkner add a character to the screenplay to accommodate a role for her. Trouper that she was, she does a good job, but this basic World War I "men's" story is very strange due to the newly added love triangle. There are also some very abrupt editing sequences that make you ponder what was left out.

Crawford manages to look great (although her clothes were NOT correct for the period - wait til you see her gown as Lady of the Manor - Adrian on the Moon!) and has some good close-ups but she is not believable as a Brit or in her supposed love for Gary Cooper. Her suffering and caring towards Robert Young is very touching though.

Cooper is always pleasant to watch but this does nothing extra for his resume. Robert Young is sweet and winsome and commands the movie-underdog fan-love, but Franchot Tone is the one who knows how to take below-average material and make it interesting. What he can do with a few curt words, a small prop like an upside down pipe in the rain or a quiet entrance into a room is sublime.

For Joan Crawford fans, I'd rate this movie a 5.5; for war and general movie fans, I'd rate it slightly lower at a solid 5.

Ponderous, miscast slog of a film. The performers try their best but only Cooper's character is believable. Crawford, Young and Tone are all supposed to be British born, none speak in anything but refined American accents. Their parts should have been played by Diana Wynyard, Ronald Coleman and Leslie Howard all truly English actors actively working in Hollywood at the time, the film would probably still have been a bore but at least it would have felt grounded in some kind of reality. MGM was trying to move Joan away from the shop girl roles that were her bread and butter at the time but this was an ill advised vehicle for her. Missing Hawks customary economy of timing and pace and a lacking any visual sense of time or place, Joan's clothes in particular are inappropriate and at times bizarre-one outfit looks like she has an ironing board attached to it!, you'd be better served to seek out other work by all involved.

Despite some very glossy MGM B&W photography, as shown in the good print of this film aired by TCM, and some attractive sets and very Adrian-created costumes for JOAN CRAWFORD, TODAY WE LIVE is a film as generic as its title. It's hard to distinguish from any other triangle romance except that the war background gives it added interest.

The script is a strange affair. It's hard to believe that JOAN CRAWFORD and GARY COOPER would openly declare their deep love for each other after exchanging a few glances across a cup of tea. In the very next scene they're hopelessly in love, with Crawford feeling guilt because she's the fiancé of ROBERT YOUNG.

Young's brother is the carefree FRANCHOT TONE (who walks off with the earlier scenes in the film), while ROBERT YOUNG gets his chance to do a fair share of emoting later in the film as his role expands. It's nice seeing these well-known actors at an early stage in their budding careers and still in their prime.

For GARY COOPER fans this is nothing special, but Crawford's admirers will find that she was at the height of her photogenic, sculptured beauty despite some odd dress designs by Adrian that don't suggest anything but the studio's line of glamor during the early '30s. She wears a boldly designed dress with a strange wing collar that has to be seen to be believed. It's hilarious! And that's just so she can pour tea with some dignity.

The actors all speak in clipped lines. "Good girl," says Franchot Tone on several occasions, trying to sound like Colonel Blimp, I suppose. And the others too adopt a strange way of clipping phrases so they sound more British. Very funny.

It goes into darker territory in the later war scenes and there director Howard Hawks seems more at home. But for a film in which the Joan Crawford character was added as a last minute script change, she certainly gets her fair share of footage and dominates the first forty-five minutes. But the love angle is certainly a strange one. She treats Cooper with rude indifference several times during their first meeting although his behavior is that of the perfect gentleman. Shortly thereafter, she confesses she's in love with him. That's the movies for you.

This film could have been great with some adequate dialogue and character development. For some reason the makers of this film seemed to believe that because three of the main characters were supposed to be British that it was necessary that they speak in incomplete sentences, usually missing nouns, and that they speak as though tranquilized. They all still sound American, they're just having half of every conversation.

Bogard (Gary Cooper) is an American who takes over a British estate during World War I before the Americans enter the fray because the current residents can no longer afford it since the father is in the military at the time. The daughter, Diana (Joan Crawford) moves into one of the servant's quarters and her brother Ronnie (Franchot Tone) and their lifetime friend Claude (Robert Young) join up with the British forces and ship out to France. The development of the romance between Bogard and Diana consists (onscreen) of exactly one bike ride in which Bogard declares his love and Diana's one word sentences make her seem disinterested. However, at the end of the ride she says rather emotionlessly that she loves Bogard. The two might as well be using semaphores to communicate, the conversation is that wooden.

Diana goes to France to help the war effort, with her brother and childhood sweetheart seeing action nearby. In France she gets news that Bogard is dead, although that news is incorrect. Based on that information she then makes a rash decision that she later regrets when Bogard shows up at her door.

On the other hand, the action sequences, both in the air and on the sea, are extremely well done and photographed. It's just a shame when such a fine cast as this film had all have their performances put in a straight jacket. The one thing that even the director couldn't do was put a complete damper on the chemistry between Franchot Tone and Joan Crawford. This is the film where they fell in love, and their scenes together show it, even though they are playing brother and sister here.