Green Light

Errol Flynn stars as idealistic young doctor who takes the blame for a botched operation that costs a woman her life. Why he does this is supposed to be noble but seems stupid to me. After he's dismissed by the hospital, he joins a friend (Walter Abel) researching a cure for spotted fever. Abel has lots to say about ticks and spotted fever, so have a pencil and paper handy.

An odd movie, especially for Flynn. What makes it odd isn't the medical melodrama I summarized above. Those types of movies were a dime a dozen back then. No, what makes it odd and also fascinating is the inclusion of spiritual themes. In particular Cedric Hardwicke's character. Hardwicke plays a perspicacious reverend, equal parts Mr. Miyagi and Gandalf. His scenes are some of the movie's most interesting. Errol's love interest choices are Anita Louise and Margaret Lindsay. I won't spoil which he picks but it wasn't the one I was rooting for. The cinematography and score are excellent, as is Frank Borzage's direction. It's a very good-looking movie. Not always successful but intriguing in many ways. Definitely worth recommending.

Green Light is beautifully directed, has a first rate score, and has a melodramatic mood throughout that makes it wonderful to watch. It relates the story of a young doctor who takes the fall for an elder doctor's mistake. Errol Flynn delivers a fine performance as does Sir Cedric Hardwicke, Margaret Lindsay, and Walter Abel.

It is a terrible reality that so many fine classics are not yet available on DVD. In my opinion, better than its rating. Fans of Flynn will not be disappointed.

Taken in an historical context, the idea that Dr. Paige would take the blame for Dr. Endicott's failure was not "bizarre" at all, as other critiques assert. Self-sacrifice and the idea that suffering makes for growth of an individual were themes of the depression era. As to the viewpoint that Dean Harcourt is talking in some weird psycho-babble, at the time religious piety was declining and radio evangelism was emerging – talking about a higher power was more appealing than talking about God.

I think Green Light has to be taken as entertainment, with good performances particularly by Errol Flynn, Margaret Lindsay, Walter Abel and Sir Cedric Hardwicke, and in the context of the times.

If I should choose one American director for the twenties/thirties,I would take Frank Borzage any day.

This is a film of a believer ,but a believer who never falls into the trap of bigotry:the "green light" of the title is the light that comes from the sky,the light of hope which should enlighten everyone.His early silent movies (particularly "Humoresque" ) displays a strong faith in a divine intervention provided that you are worthy of it."Seventh Heaven" ,"Little man what now" ,to name but two,featured characters who had nothing,nothing but their love for each other and their faith in providence.It would culminate in 1940 with Borzage's masterpieces,"the mortal storm" and "Strange cargo",particularly the latter where Cambreau becomes some kind of messiah.

Eroll Flynn,cast against type ,-but portraying a physician who predates his role in Walsh's "Uncertain Glory" where he finally sacrifices everything- ,gave all:first he took the blame for an operation which cost a patient her life;then he acted as his own guinea pig for his vaccine.It often recalls "magnificent obsession" (the first version by J.Stahl was released two years before):both works feature a man of God : the man who tells the hero of "obsession" a man died on the cross for man's salvation,the priest in "green light".The choir in the church which we heard at the beginning returns for a canticle which climaxes the movie .Be prepared to sacrifice anything and do not ask anything in return,there will be a reward anyway.

Warner Bros. occasionally gave ERROL FLYNN a break away from his usual swashbuckling roles but should have paid more attention to finding a better source material. The Lloyd C. Douglas novel is an uneven mixture of religion, psychiatry and sudsy melodramatics, never quite sure what the net results ought to be. Flynn is not the problem. He turns in a fine performance as a doctor who nobly sacrifices his own reputation when a medical mistake made by an older doctor could ruin the man's life. He looks as handsome and fit as ever.

If this were made in the '50s or '60s, no doubt Ross Hunter would have persuaded Jane Wyman and Rock Hudson to have a go at it, as they did in Douglas' THE MAGNIFICENT OBSESSION, another story about a doctor who pays for his mistake, all done up in glossy technicolor.

But it soon becomes clear that this is a weak tale, full of platitudes and moralizing by a preacher (Sir Cedric Hardwicke) who neatly sums up his philosophy of right and wrong with simplistic slogans. The message is poured on pretty thick before the story reaches the point where Flynn takes a medical risk in order to prove his theory about spotted fever.

It's all very obvious, slick and artificial, but at least the performances are earnest. Anita Louise and Margaret Lindsay can't do too much with the pallid female leads but Walter Abel does nicely as a dedicated physician and Henry O'Neill is believable as the medical man who makes a serious error during a critical operation.

Frank Borzage directs the proceedings with dignity but gets little help from a stagnant script. Max Steiner contributes one of his lesser scores, more subdued than usual in providing any melodic themes.

Interesting only in the fact that it provides Flynn with an offbeat role as a physician.