Lazos humanos

... or even as secondary characters that drive the narrative with the adult main characters forced into all kinds of silly or sappy happy situations in order to deal with the child or children. This is not one of those films.

It is like the anti-"Meet Me In St. Louis" of the previous year. This American family is one of second generation Americans, descended from European immigrants, who have no particular skills and live in the tenements of Brooklyn. The central character is the daughter, Francie, who is a bit of a dreamer like her father, and in fact she adores her father. She wants to be a writer and has a great thirst for knowledge. There is a very cute exchange between herself and the local librarian when she says she is trying to read her way through the library alphabetically by author but has reached a book that is probably just too much for an eleven year old girl. The brother - hard to tell if he is a year older or younger - is very different from her, not that interested in learning, and would probably not go to school if he was not forced, but that doesn't mean he is a bad kid.

You meet the mother in the family first -Katie Nolan (Dorothy McGuire). This first scene is skillfully written, and you immediately get, before even meeting him, that Katie is always doing battle with the family budget and must scrub floors for a living because her husband is a bad provider. In short she is tired of his nonsense but feels trapped.

Then you meet the father and husband - Johnny (James Dunn). He is a singing waiter when he can find work. He has a good voice, but he has neither gotten serious about singing as a career or outright abandoned it in favor of learning some other trade. Instead he is always dreaming about his ship coming in. He is an alcoholic but not a mean one. And he is exactly the kind of guy who would sweep a girl off her feet when she is 18, but who will never pan out as far as getting serious about work and whom you will be acutely impatient with by age 30. James Dunn won an Oscar for his performance here, and ironically he actually was fired by Fox in the 1930s because of his drinking and Fox was reluctant to take him on again for this role because they did not want a repeat performance.

Katie's sister, Sissy, is played by the boisterous Joan Blondell. Sissy seems to have money - she is always well dressed. And she has just entered into a third marriage without really being sure she was divorced from the second. She has money but no children, which she wants badly. However, she has had several miscarriages. Katie has children but not enough money to really support them. So you feel like some of the undercurrents of tension between the two sisters is that each badly wants something that the other one has and feels that they take it for granted.

One of the great things about this film is that it takes time to go about the neighborhood and let you meet all of the people who live there - the barber, the local saloonkeeper (James Gleason), the sick little girl who lives downstairs, and the local beat cop. Together this weaves an interesting tapestry of atmosphere.

So this is "one year in the life of an American family", but that year is full of hard knocks and also some complete tragedies, but some good events too. It is absolutely worth watching.

A long time ago when I was still working in an automotive shop I taped this movie from KTTV at about three o'clock in the morning, bad reception and commercials and all. The whole thing was a revelation to me. Why, in my years of enjoying all sorts of classic movies at revival houses both in New York and here in Southern California, had I never heard of this movie? For the next three weeks I believe I would come home and watch it almost every day. As an adult child of an alcoholic father, this film moved me in a personal way that I don't think I can even fully investigate, it's just too basic for words. But in terms of cinematic quality alone, this film is a masterpiece. No matter what Elia Kazan did since, we have him to thank for this movie. There is not one false note in the whole of this movie; every actor IS the character they play, most especially Francie Nolan, played to absolute perfection by Peggy Ann Garner. The black and white cinematography is used to its best advantage, the sets are perfect, the music -- contemporary tunes playing along in the background by a rickety-sounding little orchestra -- just "there" enough to provide the auditory backdrop that is the soundtrack of the times, and the emotional intensity and pacing is even, never heavy-handed, and consistent from beginning to end. This is probably the most perfect and authentic film of the black and white era. Hopefully the reason 20th Century Fox has delayed the DVD release is that they're enhancing the package with some special features that devotees of this movie like myself will really enjoy. When the movie came out on VHS I ran to buy it. It will be the same with the DVD.

What a magnificent motion picture! Dorothy McGuire and Peggy Ann Garner give the greatest mother-daughter performances of all time. Betty Smith's book is a classic, and this film somehow manages to do it perfect justice in the first movie ever directed by Elia Kazan.

In many ways I feel privileged to be able to comment here because I may be the only "reviewer" in these pages to have been in Brooklyn very close to the time of this film (I was born in 1909). The film recaptures the feel, the mores, the neighborhood so magnificently, it is incredible. Every time I watch this movie, I feel as if I am revisiting my youth, albeit an idealized version.

Everyone who watches this movie should share it with the next generation of moviegoers. It truly is timeless.

I watched this movie for the first time on TNT last night and was totally blown away. Peggy Ann Garner who plays Francie is a brilliant actress...and at such an early age. I remember we had to read the book in school in the 1960's (!) but I never saw the movie until now. The characters were so convincing, I was transported to Brooklyn, circa early 1900's and never left for 2 hours and 20 minutes. I went to bed thinking about this movie and woke up this morning with it's after affect still lingering in my mind. A "must see" for everyone of all ages. This one's a gem.

A youngster (Peggy Ann Garner) in circa 1900 Brooklyn dreams of a suitable education and ultimately a better life. She and her young brother (Ted Donaldson) experience highs and lows as their lives are followed in a documentary-style format that creates a realistic and compassionate view. Poverty is tough in the area though as mother Dorothy McGuire (in arguably her greatest role) and father James Dunn (in one of the finest performances ever captured on film, he deservedly won the Best Supporting Actor Oscar in 1945) have a hard time making ends meet. McGuire has a difficult time seeing the bright things in their lives, while Dunn (a hopeless alcoholic) treats everyone, including strangers on the street, with love, respect and understanding. Dunn sees greatness in Garner, even when most do not, and does his best to see that her hopes do come true. The title is symbolistic as a large tree in front of the family's low-rent apartment is about to be cut down to their dismay. It also refers to the fact that Garner is growing up and showing maturity way beyond her years; she is literally branching out and letting her leaves flourish. First-time director Elia Kazan arguably does the best work of any film-maker who had never completed a feature previously as he just lets Betty Smith's wonderful novel unfold methodically with a deliberate pace, tone and style. The screenplay yielded Oscar nominations for adapters Frank Davis and Tess Sleringer. Dunn, an actor who had a very pedestrian career, showed just how much of a hidden talent he really was. He is the straw that mixes the entire movie into an American classic. Arguably one of the top 10 films of the 1940s and one of the best features of all time. 5 stars out of 5.