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I'm not surprised that many viewers find this film frustrating, particularly those unfamiliar with the novels or the later TV adaptations - coming to this film with such knowledge definitely helps one be more charitable towards it.

THAT FORSYTE WOMAN is one of MGM's "prestige" literary productions, tackling the first novel of one of Britain's most beloved series of novels by one of its most beloved authors, John Galsworthy. It's another well-executed, professional MGM effort. Yet it's another strange choice for MGM (as was THE PICTURE OF DORIAN GRAY earlier in the decade), since in this case the story's main plot is an adulterous affair,casting its two leading players (Flynn and Garson) very much 'against type' - one can't blame Flynn for being willing, but I'd like to know just exactly which MGM executive thought to cast Greer Garson as the adulteress! The lady was simply too likable!

These are complex characters, and it actually took Galsworthy 6 novels to reveal them fully to the reader. Neither Soames nor Irene (the Garson role) are particularly likable in the first novel - both seem selfish and willful, but the reader ultimately comes to understand both of them better (although Galsworthy never really does give a satisfactory reason for Irene's loathing of Soames).

MGM originally produced the film under the title THE FORSYTE SAGA (I have a copy of the movie tie-in edition of the novel published by Scribners in 1949)) but, since the film was merely a slice of the Saga anyway, they changed the title to the more catchy THAT FORSYTE WOMAN emphasizing Irene's 'fast' nature. It remained THE FORSYTE SAGA in the UK.

One has to admire MGM's ambitious attempt, but let's face it, they'd really bitten off more than they could chew: THE FORSYTE SAGA was too big, too rich, and too multi-layered for one film. Rather, it was a work destined for success in another medium which was still in its infancy - television, in a format to which its breadth, length and varied cast of characters would be perfectly suited - the "mini-series", for which it would provide the pioneer effort with spectacular success in the late 1960s.

According to the Citadel Film Series book, The Films Of Errol Flynn, MGM and Warner Brothers did a swapping of stars for the services of the other. Errol Flynn went to MGM for a picture in return for Warner Brothers getting the services of William Powell for Life With Father. I think Powell made out far better in the deal than Flynn did with an Oscar nomination for Best Actor for his film.

Not that Errol Flynn was bad in That Forsyte Woman, in fact his casting as the proper and stuffy Soames Forsyte was quite a revelation. But the movie-going public simply wouldn't buy it. Errol, not the dashing hero with sword in hand and cape over the other shoulder was not accepted. If That Forsyte Woman had been made a decade earlier and for Warner Brothers, Flynn would have been perfect to play Robert Young's role of Philip Bossiney.

Flynn is married to Greer Garson and is guardian of niece Janet Leigh. Leigh is the daughter of black sheep brother in this proper Victorian family, Walter Pidgeon. Pidgeon years ago ran away with his niece's governess after the family did not permit the recently widowed Pidgeon to marry her. Back in those days proper English families did things like that.

Anyway the rather staid marriage of Flynn and Garson gets a jolt when opportunistic Robert Young who Leigh has been keeping company with, falls for Garson and she, him. In modern times it would be a no fault divorce, but things aren't done that way in Victorian England.

If there is a weakness in casting it's that of Robert Young. I'm surprised that MGM did not use someone like Peter Lawford whom they had under contract and was British besides. Greer was British, but the rest of the cast had two Americans in Young and Leigh, a Canadian in Pidgeon and Flynn was Australian. Young was older than Errol Flynn and just doesn't come over as the young opportunistic lover.

Garson of course is the perfect English lady who usually wan't allowed dalliances by MGM, but she's fine here. Greer wrote the introduction to the Films Of Errol Flynn and she says that she found Flynn to be a perfect gentleman and anxious to prove himself a serious actor.

He did in many ways in That Forsyte Saga. He was a prisoner of his own legend at this point.

Greer Garson is "That Forsyte Woman" in a 1949 film that also stars Errol Flynn, Walter Pidgeon, Robert Young and Janet Leigh. The story is told in flashback. Garson is Irene, a beautiful but poverty-stricken woman who marries Soames Forsyte (Flynn), admitting from the first that she does not love him. Soames isn't the only Forsyte in whom Irene has an interest - she loves the paintings done by Jolyon Forsyte (Pidgeon), though she learns quickly that he is the family outcast, not even permitted to see his daughter, June (Leigh). Irene seeks to bring Jolyon back into the family and to reunite him with June, who is about to be married to an architect, Philip Bosinney (Young) - while she herself is falling for Philip, and he with her.

MGM spared not one cent in giving "That Forsyte Woman" primo attention - the cost of Garson's gorgeous costumes alone could have probably paid for three lesser films; the Technicolor, sets, and photography are all stunning; and in Flynn and Garson, you have two top stars.

Unfortunately, the superficial gloss can't cover the film's flaws. For an adulteress, Greer Garson is pretty ladylike - there is no unbridled passion - and zero chemistry - between Irene and Philip. In fact, the inference is that while she loves Philip in her heart, nothing except a few kisses has actually happened. Not being familiar with the source material, I don't know if this was the case or not. And I'm sorry - if I had to pick between the handsome Flynn and Robert Young wearing some sort of curly hairpiece, I know which way I'd go. Philip Bosinney is described as a little older than June - well, Janet Leigh was 21 or so at the time of the filming and probably playing an 18-year-old. Young was about 40. And looked it. Fond as I am of Young's work, this was blatant miscasting. The role needed to be sexed up a little so we see what the fuss is about - Robert Mitchum, Burt Lancaster, someone hot and in that 30-ish age range.

Errol Flynn does an excellent job as the angry, frustrated and jealous Soames. It seems that with a few exceptions, by the late '40s, Flynn no longer played roles that exhibited what made him Errol Flynn - charm, dash, a devilish smile, and natural athleticism. While this is certainly a better role than he had in "Cry Wolf," again, it does not play to Flynn's strengths. Walter Pidgeon is very good as Jolyon and of course he's great with Garson. He should be, considering all the films they made together.

Though the story isn't that absorbing, I still recommend this film for its sheer beauty - not only in its look, but for the beauty of Garson, Flynn and Leigh, and the sturdy handsomeness of Pidgeon. "That Forsyte Woman" is a cake with an incredible icing, but the cake is pretty dry.

A luscious film, this breaks a few molds in the casting department. Greer Garson is superb as the unfulfilled wife who "held out for a higher price." (Great line!) Errol Flynn as the cold husband? It worked for me -- he showed a subtle side to his acting that worked perfectly. A young and not-so-debonair Robert Young, with his "uncombed" hair and his less-than-elegant wardrobe, plays the seducer with just the right touch of impishness. And Janet Leigh as the spurned fiance brings great pathos to her role.

The story is a bit contrived at the end, but the rest of the film succeeds in depicting frustration, arrogance, control, and passion with aplomb.

This film was cited as one of the ones that Errol Flynn felt he gave a good performance in, and that assessment is certainly true. He completely played against type in this role as an emotionally restricted man of property and did a fine job. The problem is not in his playing but in the heavily edited screenplay and miscasting. Robert Young is laughable as the "young" architect and Greer Garson too genteel by half for the role of the scheming adulteress Irene who freezes Soames out-Eleanor Parker would have been ideal for this role,but one gets the feeling MGM couldn't allow Garson to be the adventuress the role demanded because of her image. Also,the film's lack of the pivotal rape scene that ends the marriage in the novel undermines the reason why Irene detests Soames so much. Flynn portrays Soames well enough that he could have followed through in such a scene in good form. He did a great job with this character's motivations and was still quite handsome. An underrated performance in a so-so adaptation of a classic novel.

Because there is (for the most part) a sense of fun and adventure in the best of Errol Flynn's movies movie lovers tend not to see that he could perform well in dramatic fashion. I can site two examples: 1) In DAWN PATROL he starts cracking up under the stress and strain of his command position; 2) In THEY DIED WITH THEIR BOOTS ON, Flynn senses that he is going to probably die on his last military mission (as does his wife Olivia de Havilland). But they kid and joke together about how they'll retire and grow fat together once the campaign is over.

So he could act very well indeed. But the hijinks that were part of his films usually covered his abilities to act. Then there was Jack Warner. He rarely agreed to let Flynn do "straight" dramatic or comic roles. In Flynn's early career he did do films like GREEN LIGHT, FOUR'S A CROWD, and THE SISTERS with mediocre results (the comedy FOUR'S A CROWD is the best of this bunch), but Warner knew how the public liked certain actors as dramatic players and certain ones in particular grooves. He rarely gave Flynn a non-adventure part after 1940. The murder mystery FOOTSTEPS IN THE DARK, the all star romp THANK YOUR LUCKY STARS, and the interesting French war drama UNCERTAIN GLORY were exceptions

I suspect this treatment began to bug Flynn after the rape case in 1944, when Warner's was determined (for damage control) to try to retain Flynn's hero image at all costs, and to make his sexuality a type of joke. Then, his contract with Warners ended and he went to M.G.M. He was able to do THAT FORSYTE WOMAN with Greer Garson, Walter Pigeon, and Robert Young. Here, he hoped, he would demonstrate his abilities as a straight actor as never before.

THAT FORSYTE WOMAN is based on THE FORSYTE SAGA's first novel, THE MAN OF PROPERTY (with a bit of the second novel IN CHANCERY thrown in). Written by John Galsworthy in the teens and twenties, the nine novels and numerous short stories and "interludes" about members of his rich, upper middle class family remain a favorite series of tales about the period of England from 1880 to 1929 (Galsworthy died in 1933). They won him the Nobel Prize in Literature. Unfortunately, the stories' appeal has led to them being used for television twice, the last time only four years ago. The best version is either that recent one, or the 1960s version starring Kenneth More, Eric Porter, Nyree Dawn Porter, Martin Jarvis, Susan Hampshire, Nicholas Pennell, and (introducing) Michael York. I say unfortunately because the television versions (being multiple episodes) allowed the screenwriters more opportunity to dramatize more of the stories. Whole plot lines, jettisoned or condensed in a single film (even of a single novel) were expanded more comprehensibly. Also, as the 1960s version was going through the first six novels in 26 hour episodes, characters were given a chance to develop. In particular Soames Forsyte, the character played by Flynn in the movie.

In the 1960s version Soames was played by Eric Porter. Now it is an odd balance here. Porter had no great film career - he did not become the film icon that Flynn did. But on television he certainly was quite effective in several programs (he was a memorable Nevil Chamberlain in WINSTON CHURCHILL: THE WILDERNESS YEARS). His version of Soames was a wonderful full blooded characterization. Instead of just being a stuffed - shirt solicitor and art collector, Porter showed the demons that drive Soames to the mad act that blights his home life (Soames sexually attacks an unwilling Irene - his wife - when she refused to fulfill her wifely duties). Later his stuffiness actually stands out in rather good contrast to the anti-Victorian backlash that follows the First World War. He becomes a grand old curmudgeon.

Flynn could not do this. Indeed the entire rape issue in the novel was totally played down in the film (MGM brass could not bring up the idea of rape with Flynn, even though he had won the 1944 case brought against him on that charge). Instead they emphasized the other unattractive side of Soames. Committed to property, in his art collecting, his accumulation of wealth, and his home (and his future house being built by Philip Bossiney (Robert Young)), the movie Soames considers Irene (Greer Garson) his possession. In the novel this theme is brought out by Galsworthy (typical of the mindset of Victorian England - even in it's laws). Irene tries to escape with Bossiney (who is engaged to Soames cousin June (Janet Leigh)), but the latter dies under violent circumstances. However, Irene does leave Soames, and ends up marrying Soames other cousin Jolyon (Pidgeon).

With the total affect of the novel cut due to the mores of 1949 and the history of it's male leading man, the story was weakened. To his credit Flynn did give a good performance. He is a totally unlikeable Victorian pompous ass who happens to have no sense of humor (which is Soames' character, before his marriage problems) who likes to collect things. Problem is, even with his money it is hard to understand why anyone would be willing to marry such a man. Irene (in the novel) is the daughter of a professor who has died, and is living with her step-mother (whom she can't stand). If this was developed (as it was in the 1960s series) the problem of her marrying Soames would be understood. Here it wasn't.

As the story was done so superbly by Porter and his co-stars in the 1960s, Flynn's good performance in such a mediocre version is distinctly minor. However, out of respect for Errol's attempt to show what he could do (and his personal results) I'll give the film a "7" as a better than average try.

Greer Garson is That Forsyte Woman. The story begins with Greer in the nighttime fog of London rushing to a hospital to see someone. Errol Flynn and Walter Pidgeon are right behind her. Who is she visiting? Why is she in such a state of panic? By way of a flashback, we are shown just how they have all come to this point. Errol is captivated by Greer and means to have her. By wooing her and sending her flowers, he insists she is to be his, despite all her refusals to marry him. But, she doesn't love him. Through a series of events, she finally acquiesces. But, will she learn to love him? Will Errol be able to hang on to her? How does she get the label of That Forsyte Woman? Also starring Robert Young and Janet Leigh, this is yet another example of Hollywood at its best in storytelling. The viewer is caught up completely in her world. But, despite all the truths unearthed and developments of the plot, the biggest asset to this film are the acting chops of Garson, Pidgeon, and Flynn. Especially Errol Flynn. For someone who was typecast and primarily known as "Robin Hood" and "Don Juan" in his career, he is exceptional in this; I can't overemphasize just how great he is. This may just be one of his best performances, outside of "Gentleman Jim." Of course, the presence of Garson and Pidgeon together is a plus, but its Flynn's presence that carries the plot along. The characters of Robert Young and Janet Leigh are a little too cardboard or cookie-cutter to really stand out, but the viewer will leave this film, feeling very satisfied, with the story and Flynn and company's acting. And, this has a great last line. It may be far from perfect, with its loopholes or even seem a bit static or old-fashioned to some, but if you will only sit back and relax, the rewards are there for you to enjoy.

There was real potential for 'The Forsyte Saga' to be a good film. The casting did sound odd but with performances this talented there was a chance that they could have pulled it off. It was from a studio with so many classics under its belt. It looked incredibly handsome seeing its advertising and stills. The source material is absolutely brilliant, though did worry that because it is so rich it would not lend itself well to merely a feature length film.

Which were my feelings exactly when getting round to seeing 'The Forsyte Saga'. It is watchable and has a number of obvious good things, but with more consistent pacing and more suitable casting it could have been a winner but turned out to be instead an interesting and noble disappointment. Proof too that when it comes to adapting the source material for feature length it is best leaving it alone, and the vastly superior television series from the 60s showed that it works much better adapted as a serial/mini-series.

Good things are quite a few. It is a very handsomely mounted film, especially the quite exquisite photography and the costumes won an Oscar for good reason. The other best thing is Errol Flynn, this was courageous casting for a role he on paper sounded wrong for and would have been quite different for him. He however was one of the few actors that came off well, showing that he can do dramatic and less sympathetic roles and does so in an admirably restrained way. Walter Pidgeon is also charming.

Bronislau Kaper's score is lush and induces a lot of emotions. The main theme is one that is not easy to forget. Greer Garson has some affecting moments.

She also doesn't always look comfortable or like her heart was properly in it, Eleanor Parker would have been a better choice. Janet Leigh does her best and brings some charm but her role is practically a plot device and has nothing to it. Worst of it is a too old and far too cold Robert Young, who has no charm or likeability. The characters seemed underdeveloped, with the one exception being Soames. The direction seemed rather pedestrian.

Much of the script was very stilted and rambled. The film did need a longer length and more of the story elaborated upon and taking longer to unfold. There was no substance to the storytelling either, to me there was very little tension and emotion and it all feels undernourished. A tighter pace was also in order and there are similarly scenes that drag as a result of padding out material that works a lot better in mini-series format.

On the whole, watchable but there was a potentially good film in there somewhere that doesn't materialise. 5/10

This is one of the few non-swashbuckling films of Wicked, Wicked Ways Errol and one where he plays a character totally unsympathetic. He does it not merely well but superbly. He could act. Tragically, he was so damn good at using his natural athletic abilities in costume dramas, he never got good roles until he was over the hill. This film made right after the time of his famous sex trial reveals another side of a talented actor. Garson is great as is Robert Young, albeit coming off a bit insipid alongside Errol, playing a foppish socialite. The story of this film is a bit tiresome by today's standards and drags in spots. It is gorgeously photographed with lush costuming but it's Flynn who steals the show-- without even trying. He was only 50 when he died from a debauched lifestyle. Sadly, his last film, Cuban Rebel Girls, made during Fidel's revolt, is an abortion and a pathetic tribute to a man, a talented man, who trilled us all so many times in our youth with his panache, elan and verve. But, this little film, made about 10 years before his demise shows he was indeed, an actor and not merely a star.

The movie started off really well and interesting enough but about halve way through it suddenly starts to make some unbelievable twists, that are just not credible, which is mostly due to the acting.

Real problem is that it's highly unbelievable that Irene Forsyte (Greer Garson) and Philip Bosinney (Robert Young) fall in love in this movie, which is about the most essential part and twist in the story. Garson and Young have absolutely no chemistry together and how their are being drawn together by their love for each other is therefor highly unconvincing. On top of that Robert Young really doesn't have the right looks for the part, he was at least 10 years too old at the time for this role really.

A positive casting note was Errol Flynn in a serious and demanding role. He in this movie also shows that he could actually really act. It's also a rare movie in which he plays a more 'bad' than 'good' kind of character. He's perhaps the only real true highlight of the movie.

The still young Janet Leigh also appears in this movie in one of her first movie roles. Definitely not her best role, she still had a lot to learn but that's not just her fault. The script just didn't gave her that much interesting to do.

The movie is definitely more classy and better looking and made than the average MGM genre movie, made in the same period. It therefor is also perfectly watchable for persons who normally aren't too fond of the formulaic kind of '40's MGM period drama's.

The story still has some interesting elements and characters in it but its weaker and unconvincing second halve prevent this movie from being a true classic and above average one.

6/10

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By the end of the 1940s, the WB had relegated one-time box office king Errol Flynn to 'B' movies, and offered him little studio support. While most of the stars under contract to the studio were still protected from unflattering publicity, Flynn's rape trial and subsequent revelations revealed a public far more tolerant of the star than the studio was, so Flynn was left 'to his own devices', and found himself the constant subject of scandalous headlines, a situation that became so intolerable that he would eventually sue 'Confidential' magazine, the most virulent of the 'scandal sheets'.

Therefore, when, negotiating a new contract in 1947, Flynn asked to be allowed to do one film a year away from the WB, the studio agreed, happily, more than pleased to let another studio pay the actor's salary and deal with his unsavory reputation. While the result of this new 'freedom' did not produce any Flynn 'classics' (KIM would be the best received of his work away from the WB), it did give him a seat at the table with Gable, Tracy, Hepburn, Garland, Taylor, and MGM's other legendary stars, when the studio celebrated their 'Golden Anniversary', in 1949.

THAT FORSYTHE WOMAN, Flynn's first film away from the WB, was a heavy-handed, ultimately unsuccessful adaptation of the first of John Galsworthy's trilogy of the rise and fall of a British aristocratic family, a popular series of works that would become the basis of the classic BBC series, 'Upstairs, Downstairs'. Offered his choice of the male 'leads' in the film, Flynn lobbied for, and got, the 'villain' of the story, the coldly ruthless Soames Forsythe, who marries MGM 'queen' Greer Garson, and proceeds to make her life a living hell. It was a major departure for Flynn, who had watched his roles at the WB deteriorate into a collection of jaded roués with a 'taste' for married women. While he acknowledged that he wasn't the easiest person to work with, he wanted to demonstrate, once and for all, that he was an actor capable of far more than leaping horses over cannons and swinging a sword. With Soames, Flynn proved he 'could deliver', even as a character you would be hard-pressed to feel sympathetic about.

As the men Garson would find comfort with, Robert Young (who had his own 'typecasting' problems, again playing a near juvenile when, in fact, he was older than Flynn!), and Walter Pidgeon (also playing a role younger than his actual age, but, as usual, winning Garson's heart), had to contend with poorly written, nearly cardboard roles (that Pidgeon 'comes off' so well is a testament to his often-overlooked acting talent...he was FAR more than just 'Garson's Leading Man').

Greer Garson, long 'typed' as the most aristocratic of MGM leading ladies, had to deliver some truly 'ripe' dialog, and her manipulation by 'class conscious' Soames seemed unrealistic and out of character, but she managed to survive the stodgy production with her reputation unblemished.

Filming was smooth and untroubled, and Garson was impressed by Flynn's professionalism (he was on his best behavior, for a change). He did, however, pull one memorable practical joke; in a very dramatic scene, as she packed to leave Soames, she opened a wooden wardrobe to discover Flynn, standing inside, naked, grinning from ear to ear! One NEVER pulled a stunt like that on a Major Star (Bette Davis would have had a tantrum), but Garson simply burst out laughing, appreciating Flynn's irreverence.

THAT FORSYTHE WOMAN would be one of Errol Flynn's favorite movies, even if it didn't turn his career around.

Greer Garson is caught between three men; her cool but tightly wound, and condescending husband Flynn, her niece Janet Lee's swain, Robert Young, and the niece's bohemian artist father, Walter Pidgeon.

For me, Young is a weak link in this Quadrangle. His Character, a young architect, becomes in this script, an opportunist and a cad. He's not worthy of either Greer or Janet's love He loses sympathy here when he threatens to reveal his desire for Garson at the Niece's engagement party.

Garson is fine in this, so is Pidgeon. But Flynn is the revelation. As in his final features, Roots of Heaven, and Sun Also Rises, Flynn demonstrates his abilities as far beyond Swashbuckling.

Based on the celebrated novels of Galsworthy, this lavish film focuses on a strong-willed woman who marries into a rich and powerful British family. It's a good-looking but dreary soap opera that begins to drag about half-way through. Garson is charming as usual as the woman who agrees to marry frigid Flynn, even though she doesn't love him. Pidgeon is once again paired with Garson, but he has a small role as the black sheep of the Forsyte family. Leigh is pretty and peppy. Young is not only too old to be playing Leigh's fiancé, but he's also miscast as a heartthrob. It's hard to believe that women would be fighting over someone who's so plain.

... which was the first novel of John Galsworthy'sThe Forsyte Saga. Essentially a Victorian England-set soap opera, it features a big cast of stars headed by Greer Garson as the title character who enters into a loveless marriage with Soames Forsyte (Errol Flynn), a stuffy, cold member of a stuffy, cold artistocratic family. Walter Pidgeon co-stars as a black sheep of the family, with Janet Leigh as his daughter and Robert Young as a Bohemian architect with whom Leigh falls in love. Complications occur, however, when Young and Garson fall in love with one other.

With its rich Technicolor and lavish set design, That Forsyte Woman is one of those productions in which every penny shows on the screen. Unfortunately, as directed by Compton Bennett, lavish as this film is, it is also equally lifeless. You may watch the film for its cast of stars but it may also be a bit of a struggle to make it to the end.

In his autobiography, however, Errol Flynn called this one of the favorite films of his career, and I can understand why. In playing an unloved man who has difficulty expressing emotion it gave him a rare opportunity to break away from the swashbuckling stereotype at his home studio Warner Brothers and do a character role. Flynn tries hard and his casting against type can be seen as the most interesting thing about this plush production. Unfortunately, possibly due to little directorial assistance, the actor comes across as a little too stiff and reserved much of the time. You can understand why the actor in Flynn appreciated the opportunity but there's something about seeing a charming man playing an not so charming character that can be a little tiresome after a while.

Greer Garson would later write that this film has been a fun one to make and it had been enjoyable for her to work with Flynn. The actress added, however, that she wished the film had been as much fun for the audience to view as it had been for the cast to make.

How could any woman choose another man over Errol Flynn? I don't know either. That's why I didn't buy the premise of this but was impressed with the performances. Errol Flynn is always great to watch and proves here that he can deliver the acting goods and always of course looks distractingly handsome. Greer Garson and Walter Pigeon are a treat to watch together. A previous poster mentioned the fact that Greer Garson having an adulterous affair didn't work because she was just too likable really doesn't apply here because the fact that their marriage is unhappy is established. Robert Young comes off less sympathetic than Flynn's Soames Forsythe, in my opinion. Here he takes advantage of the young and naive June Forsythe and the unhappy marriage of Mrs. Forsythe at the same time. The story is contrived but overall a good flick to watch on a rainy day. I would recommend it.

Poor ERROL FLYNN. When he finally did get to choose a good role for himself, it had to be in a very lackluster version of a stodgy novel, the first half of which is used for THAT FORSYTE WOMAN. And he had to get GREER GARSON as leading lady who, for some reason, seems as detached and remote from the proceedings as his character is supposed to be. With two such detached performances in the leading roles, the film emerges as heavy going for the audience.

But these are not the only failures. JANET LEIGH was not yet the fine actress she would become and is little more than a cardboard ingenue as the young woman in love with an impoverished architect, ROBERT YOUNG, who, incidentally, is about ten years too old for his role despite efforts to make him appear younger.

The story is a slim one for such a handsome production and fails to generate more than a modest response.

But the film does show an interesting side of Errol Flynn and proves that he was much more than a man who could wield a sword with the best of them. He actually delivers a solid enough performance as the stuffy Soames who, because he is a man of property, is used to buying whatever he wants, regardless of consequences.

Fans of the four stars will no doubt find them enough of a reason to watch. Pity the story, which moves at a snail's pace, was hardly worthy of their combined talents.

The main problem with this film is the casting. As Greer Garson's cold husband, Errol Flynn was cast. He is nothing short of superb, and he and Garson have great chemistry together. But the casting of Garson's lover went to Robert Young, and he is totally wrong for the role. One can never accept Garson's feelings for him over Errol Flynn!

This is a movie for the over 45 crowd. Only us 'oldies' would appreciate these actors-- Errol Flynn, Greer Garson, Walter Pidgeon, Robert Young, Janet Leigh, and Harry Davenport. This is one movie whereby Errol Flynn does not play a swashbuckling hero is well known for in many of his other movies. However, although the storyline is typical and plot predictable, I found the movie to be entertaining. It is not a highly memorable movie, but for its block of time was pleasant and enjoyable -- just what a movie should be. I enjoyed the movie for its actors, not for their performances, but just for them being in this film. This movie is for a quiet, relaxing movie night for us "oldies." It brings back memories of many of our favorite actors and why we love them so.