Trois camarades

Yes, but between whom? THREE COMRADES is remembered today for it's classy acting by Margaret Sullivan, Robert Taylor, Robert Young, and Franchot Tone, for it's setting in Germany after World War I, and for it's screenplay, which is the closest thing to a complete movie script that F. Scott Fitzgerald ever wrote. Actually his original script has been published (about twenty five years ago), and shows it was far more outspoken in pinpointing politics than this film is. Hollywood, in 1938, was aware of the Nazis and of their racial and political policies, but they were also aware of the opposition to any type of open criticism of the right in Europe by the U.S. Congress. So Fitzgerald's script was toned down. His work is still pretty good, but one misses the bite he would have fully given if the script had not been tampered with. It does give a pretty good view of the political confusion and economic dislocation following the end of the World War, but for all an audience knows the fighting in the city might be over rival soccer teams!

In the early sound era, one of the most respected directors in Hollywood was Frank Borzage: in fact, he won the very first Academy Award for Best Director (and would win a second one five years later). Yet his work is now virtually unknown. THREE COMRADES came during his tenure at MGM, where he would stay for the next five years (previously, he had been one of the star directors at Fox, and then worked at Columbia and Warner Brothers); it reunited him with Margaret Sullavan, with whom he had worked on LITTLE MAN WHAT NOW in 1934, and it would represent the only official screen credit for F. Scott Fitzgerald. There are moments (especially in the romance between the poor aristocrat Patricia and the young mechanic Erik) in which you can hear the lilt and romanticism of Fitzgerald's sensibility. THREE COMRADES was one of those movies that played a lot of television in late 1950s-early 1960s, and the moving story of three comrades (played by Robert Taylor, Robert Young and Franchot Tone) and the young woman who enters their lives (played by the great Sullavan, in her Academy Award-nominated performance) trying to find some solace and happiness in the rubble of Germany in the period immediately following the first World War is remarkably touching. Though often criticized for the (many) compromises that went into the making (this was a major studio production in 1938, beset with all the production code and commercial considerations of the era), there's still enough of Remarque's powerful story, Fitzgerald's elegant dialog, and Borzage's romanticism (as well as the superb performance by Margaret Sullavan) to make this one of the most memorable American movies of the 1930s.

Margaret Sullavan shines in her performance as Patricia Hollman. No wonder she was nominated for an Oscar. She is aided by Robert Taylor, Robert Young and Franchot Tone who finish out the talented cast. They portray 3 WWI buddies that stick together after the war is over and become partners in a Taxi business.

Sullavan has such an easy charm about her and never appears to be acting. Her soft, low voice is just mesmerizing to listen to. Taylor, Young and Tone are equally convincing as best friends and genuinely appear to enjoy each others company. Sullavan's character marries Taylor's, but in the bargain gets the other 2 men as close friends.

As she becomes ill, they all rally to help her. What woman wouldn't want to be surrounded by 3 men who clearly adore her? The black and white cinematography is adequate. There are times that the studio sets and process shots (driving in car) are very artificial looking, but that is expected from the late 1930's.

Overall, this film left me with a good feeling about the value of true friends and true love. One is truly blessed if you can have both.

Three friends navigate life after the scarring experience of WWI in this melancholy and even somewhat eerie film from 1938.

Notable about this movie is the fact that it's about three German men, though the fact that they're played by Robert Taylor, Robert Young, and Franchot Tone makes that easy to forget. As the dark cloud of WWII was descending on Europe, it was kind of a gutsy move for Hollywood to think anyone would be able to care about a group of protagonists who were the enemy of the film's central conflict and still the enemy in the real conflict developing overseas. But the point of the movie is that war in general and WWI in particular left everyone shattered, no matter what side you were on. The film does a fantastic job of capturing the fatalistic, doomed quality that WWI implanted in the human psyche and that fueled what would be dubbed the Lost Generation of artists coming out of it. I'm personally fascinated by WWI and its psychological effects on the world, and so this movie was of particular interest to me.

I was also interested to see Margaret Sullavan in the role that brought her her sole career Academy Award nomination. She plays a dying woman who falls in love with one of the friends and changes the group's dynamic. Her impending death is a stand in for the impending death of everyone, something that before the war was an abstract notion but after it feels close and real. Death is an ever-present shadow in this movie, and its role in the film's ending makes it both haunting and uplifting at the same time.

Grade: A

Seems to me that Frank Borzage was the only director in Hollywood to use movies to reflect events in pre-war Germany actually in Germany. Sure at its heart this is a big weepie built around an idealised love story but it is set against the backdrop of Weimar Germany in forment and while there's no mention in the script of Nazis or Hitler, the cause of the background unrest must have been fairly obvious to audiences of the day.

The film is well-known for being the one major screenplay bearing the name of F. Scott Fitzgerald, who'd at this stage in his career turned to Hollywood for work although it's been said that his final draft was just too florid as to be unfilmable and required some doctoring before shooting. I'm an admirer of Fitzgerald's literary works but I can see here where much of the dialogue would work better on the printed page as often here it does come across as prosaic and unnatural, not the way everyday people would speak. Of course the movie is an adaptation of a novel I've not read by E. M. Remarque, best known for his "All Quiet on The Western Front" which I have read and which seemed an altogether grittier and more realistic story than we get here.

The plot falls into place quickly after we meet the three idealistic young men, Taylor the romantic, Young the militarist and Tone somewhere in between and they pick up Sullavan, literally on the road, where she appears to be the mistress of a rich, older man, but of course she abandons him immediately to fall into line with her three new beaus.

So it's a kind of four musketeers story, only with one female member and I do get that some friendships are more ardent than others especially in troubled times, but the way that Young and Tone platonically adore Sullavan from the wings with seemingly no love interest of their own while Taylor walks off with the prize stretches credulity a bit and I got the impression it might have created a bit more dramatic tension if they'd perhaps competed for her affections.

Still they are four handsome leads and they do their best with what they're given, unlikely as it sometimes is, with Tone probably the best of them. Borzage directs with considerable visual style, capturing winter-time particularly well and I especially admired the overhead shot of Sullavan rising from her bed at the end, although the final scene of the fab four striding into the distance walks a fine line between being affecting and downright corny.

Still, compared to many another Hollywood film from around the same time, I was pleased to watch a film at least taking some sort of moral stand and reflecting contemporary events even if it was a little hard-going and hard to swallow at times.