Prigionieri del passato

Random Harvest is very fondly remembered and loved by many and for good reason. It is such a beautiful film in so many ways and one of the most moving films I've seen. Random Harvest is a splendidly made film, both sumptuous and Expressionist and still looking as fresh now as it did then. The period detail is rendered handsomely as well, not accurate perhaps but with the quality of how the film looks that doesn't really matter all that much. The music has that lush romantic feeling without being too syrupy, the use of Tchaikovsky's Swan Lake was apt and will be a delight for classical music enthusiasts(count me as one). The script has the right dose of warmth and pathos with nothing being corny or overly-sentimental; this is a script with heart. As has the story, which is romantic to the hilt, heart-warming and incredibly touching, you're guaranteed to need tissues when Charles doesn't return to Paula after going to Liverpool and when his memory starts to come back. I was so engrossed by the characters and so touched by the story that any improbabilities were easily forgiven. Mervyn Leroy's direction is masterly and the characters are sweet and very human, complete with one of the most realistic and heart-breaking portrayals of shell-shock on film. The supporting cast all give solid performances, Susan Peters is utterly convincing in her feistiness and confidence and Reginald Owen, Henry Travers and Edmund Gwenn are always watchable. But the two leads dominate and are a huge part of the reason why Random Harvest works so well. Ronald Colman was a revelation, wistful and dignified but it is also very difficult to not tear up at Colman's body language when his memory starts returning, a very telling piece of acting. Greer Garson is just radiant and is wonderfully sincere in her role. Their chemistry together is just pure magic. All in all, beautiful and outstanding film, cinematic romance at its finest. 10/10 Bethany Cox

James Hilton wrote a handful of works whose staying power and emotive intensity compare with the greatest of all written literature. Taken from the great book, "Random Harvest" is one of the most beautiful and tender movies I have ever seen. Flawless acting, memorable cinematography, multi-dimensional characterizations, gorgeous scenery and peerless direction augment the pleasure of witnessing this great film.

For Hilton aficionados, this cinematic gem sparkles and gleams in the sun of Hilton's undying faith in eternal optimism, hope, sacrifice and love. The story is true to the Hilton novel and left me with gratitude rekindled for all of life's great bounties and blessings, not the least of which are the everlasting bonds of love we create and re-create through mortality.

Personally, I find the story parabolic on a deeply significant level: indeed we all are children of a great--yes, royal--family; sometimes we live our mortal lives with a dismissive attitude toward what turn out to be the turning points in our lives; oftentimes it takes us all our lives to find out who we really are; we walk through life constantly "adjusting our glasses" to see more clearly, when the very key is to adjust OURSELVES so that the "glasses" we HAVE help us see clearly; and finally, love DOES conquer all.

See this fabulous movie with a dear one and experience the magic.

...I rented this and now I'd like to own it. It's just plain wonderful.

Despite being endowed with a story by the redoubtable James Hilton, this film is carried by the sheer power of its two stars. Colman (as Smithy/Rainier) and Garson (as Paula/Margaret) are at their luminous best. While the story can seem a bit implausible with too much thought, it is presented with such great truth, sincerity, and momentum that the viewer is swept along effortlessly.

Like other Hilton books and their associated film translations (such as Lost Horizon and Goodbye, Mr. Chips), this movie has an exceptionally memorable and satisfying ending. I wanted to watch the ending over and over, but I'm glad that I resisted in this case - it helped me to retain the film in perspective.

The sad note is Susan Peters, who does a great job of essaying Rainier's young admirer. Peters was paralyzed in a hunting accident not long after this film, and her career and personal life never recovered.

If you've seen and liked the other Hilton adaptations mentioned above, as well as films such as Mrs. Miniver and The Talk of the Town, then you should not miss this. Close to a 10/10.

The weepie to end all weepies! The two leads are perfect, the plot twists and turns, and Hollywood 'England' has never looked more lovely.

I'm also fascinated by the opening, given that Coleman had been through WWI, and must have known people with bad shell-shock, even if he escaped it himself. (For a modern take, try Pat Barker's 'Regeneration' trilogy.)

I think one of the reasons this sort of film is so appealing, is because of it's now-dated attitudes to commitment and relationships - you just can't imagine this story (or for that matter Brief Encounter) working nowadays - the protagonists would have taken shortcuts.

But here's to the days when this was the way one behaved!

I've seen Random Harvest a number of times, but recently I watched it twice as part of TCM's Essentials series hosted by Sidney Pollack. This time I was inspired to read the James Hilton novel, Random Harvest, which I recommend to all lovers of the film. If you know the film, you won't get the little surprise at the end of the book -- you will know it already -- but it's still a most enjoyable and heartwarming read. You will see that Smithy/Charles Rainier is quite a young man at the beginning -- however, I did not find Ronald Colman too old in the role, he overcomes the age difference with his splendid performance. And he doesn't seem too old to play Charles Rainier, the prince of industry. I can't imagine another pair who could play the two romantic leads, Greer Garson is so radiant. And all of us who watch old films know that people did look more mature back then -- they looked like real adults! This is such a romantic film, everyone should see it. And Sidney Pollack was right not to remake it -- let well enough alone!