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Along with Eddie Albert's "The Dude Goes West," this is one of my favorite--no my all-time favorite--offbeat western. There's not too much I can add to the many excellent write-ups that precede this one, other than to also note that I too fell in love with this film when a kid in the 1950s. Watched it whenever it was on--which as I remember was quite often. A year or so ago I managed to scare up a DVD of "Heaven only Knows," and the reproduction quality ran from really poor to outright wretched. Still, watched the thing all the way through and despite looking like it had been filmed through a murky goldfish bowl, it held up beautifully. Definitely a five-hankie finish.

I've read "David Copperfield" at least a half dozen times. If it's not the greatest novel in the English language, then it's darned close to it. Like any Dickens work, there are plots within plots and scores of major and minor character. With the exception of excluding poor Traddles, this film catches the essence of the story better than any since--and I defy anyone to cite a better movie for casting the right actor with the right character. Of course, W.C. Fields' Mr. McCawber was superb and has been cited time and again as a great characterization, but it's also difficult to fault Basil Rathbone's Mr. Murdstone, Edna may Oliver's Aunt Betsy, Roland Young's Uriah Heep, Freddy Bartholomew's young David, Lionel Barrymore's Mr. Peggoty or Maureen O'Sullivan's Dora Spenlow. As well, George Cukor's direction and period details are top-notch, as is the screen adoption of a very complicated novel. It's simply one of the greatest movies ever made.

While the story is a bit on the fanciful side, it still has a good period look, and some of photography and action sequences are excellent. Wallace Beery is not as hammy as usual and does a creditable job. Henry B. Walthall is good (as usual) as Francisco Madero and turns in the best performance of the movie. Interestingly enough, while some characters (Madero, Villa)actually use their real names, others such as John Reed, Victoriano Huerta and Rodolfo Fierro are fictionalized as Johnny Sykes, Pascal and Sierra, respectively. Perhaps the best thing about it is, despite when it was made it treats the subject matter with dignity and has a real respect for Mexico and Mexicans. Some of the shots look as though they were taken in the 1910s thanks to Jack Conway's and Howard Hawk's direction.