Today We Live

This film was hopelessly miscast. Why have Americans playing Brits especially when none can master the accent? But, that is one of the reasons to watch especially as Miss Crawford often forgets, or doesn't even try to attempt to be English, in places... sometimes in mid sentence. You can also laugh at the stilted attempts at English Dialogue - "Sister, Mine". "Officer now. Navy. Now I can ask her.". "Feelings Anne. Can't change love.". There's also some clumsy scenes but this was made in 1933 so we were only just out of the silent age so some over dramatic, over egged, over acted scene's are to be expected.

Yet, and despite this being a pot-boiler of a love triangle with war and Anglos-American relations as it's background, it is enjoyable for some still superb acting, the way the three main characters a loved by the camera and are give back warmth and honesty in return. Never been a big fan of Joan Crawford but she looks good and (if we forget she is supposed to be British) gives a good performance.

The sort of film you watch to look at both the good and the bad of cinema at the time and it gives you plenty to talk about later. And remember Crawford and Franchot Tone met for the first time when making this film. he became her second husband two years later.

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.

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.

This early Hawks' film has many of the themes that will frequently appear in all his filmography, like friendship between men or the professional skill as a mean of survival in dangerous situations. After a weak start the movie takes off during the plane and boat attacks, when Joan Crawford's character is somehow left aside. All in all, her character appears more like a nuisance than anything else. Her first appearance during the tea scene is promising but from there on she'll lack the mannish qualities of other Hawks' females. It is clear that the love interests all through the film are between Cooper, Tone and Young. Claude's blindness reminds other physical impediments of Hawksian heroes. This film, however, closes with a display of self sacrifice and heroism seldom seen in the director's universe. There's also some unusual appearance of religious elements. Although a film "d'epoque", Hawks cannot help turning the material into a modern piece. Some fine scenes, like the aviator instructing the neophyte gunman about the dangers of throwing up, or the wake of the dead cockroach are a true landmark of the director's imaginary, and a clear proof of his ability to turn any material into his own.