Gable e Lombard: un grande amore

This movie was quite maligned when it came out. Since I had been a big fan of both vivacious Jill Clayburgh and the manly James Brolin at the time I went to see it. Since I was a teen, I took a lot of what was portrayed as quite accurate. True it is a mostly fictionalized account of the two stars, but it has got some redeeming qualities. Namely, Brolin's dead on Gable. He is indeed very good, and I kept forgetting that it was not really Clark Gable. Clayburgh, as attractive as she is does not have Lombard's classic beauty or figure, but she's so gosh darn likable as Lombard one can overlook her shortcomings. Seeing it again recently, Jill Clayburgh as Lombard is a stretch, but I felt she put so much into the character, and a better script couldn't have hurt. Physical aspects aside, the two actors have great chemistry, and one gets the impression they are really crazy about each other. It's ashame that neither Brolin or Clayburgh got more to do...the story does meander at times and the film is a tad too long. Although it's not a great film, it's definitely worth checking out. Be on the lookout for Melanie Mayron as Dixie, before she went from frump to vixen.

In the 70s after MGM compiled their wonderful THAT'S ENTERTAINMENT docos highlighting their musical treasure trove, other equally stocked companies decided not to do the same but actually make feature films about the same Hollywood history. So, instead of getting That's Fox or That's Paramount or Universal or Columbia (like the pubic actually wanted...and still do...) we were served new movies about old Hollywood. Enter GABLE AND LOMBARD (and WC Fields and Me, and Day Of The Locust...and Won Ton Ton The Dog That Saved Hollywood...and Hearts Of the West...and The Last Tycoon etc). Not as ominous as the proposed remake of Casablanca starring Tom Selleck and Jane Seymour, and nowhere near as 'bad' or 'wrong' as critics of the time cruelly labeled it, GABLE AND LOMBARD is a lush valentine to a fan mag style and memory of a period in time...rather like the production design of The Talented Mr Ripley is actually reflective of what Hollywood thought the jet set Mediterranean 50s were like as opposed to its fishing boat reality. As with At long Last Love, GABLE AND LOMBARD was slammed by crits and left to drown when without the bile and guffaw, there is a very entertaining biography with quite good casting and sensational visuals. Unfortunately for the producers, it was made when most everyone from the 30s were still alive and could spew on this film. Had it been made today, it would play 3000 multiplexes to a docile audience who struggle to know anything about 'the past' and be a $50million hit in week one by default of the TV ads and shopping center cinema location. I am sad not to see Jill Clayburg in films much past the 70s, like the superb Lee Grant she too can make an ordinary film watchable. In this case we have a great actress in a lavish (slavish) biography with sturdy James Brolin doing his damnedest not to be a dumb-Clark. As with WC Fields And Me this film deserves a better reception and a lush DVD transfer to be re discovered and appreciated. It's quite good.

Slammed by critics in 1976 for playing loosely with the Hollywood facts (to put it mildly), this expensive, handsome-looking bio-pic regarding the romance between 1930s screen idols Clark Gable and Carole Lombard actually doesn't take the facts into consideration at all. Perhaps starting with the presumption that nobody knows the real dish, screenwriter Barry Sandler concocts a movie star yarn around personalities we mostly remember today through their pictures. Of course, film-historians were quick to point out all the inaccuracies, but I don't think Sandler nor director Sidney J. Furie was preoccupied with the truth. Sandler's Gable and Lombard appear to be based solely on his (and our) movie memories of them both, and leads James Brolin and Jill Clayburgh approach their roles in this precise spirit (particularly Clayburgh, who models her performance on Lombard's performance in "My Man Godfrey"). In a way, this was a novel concept considering that 1930s reality has now been permanently blurred via time and celluloid. Now for the bad news: Sandler's 'plot' spends far too much time on the loving couple having to sneak around since Gable was already married, and their meetings with Louis B. Mayer (Allen Garfield, playing Father Confessor) are pointless. In actuality, Clark and Carole brazenly showed up everywhere together, and the public ate it up. Sticking to the truth in this instance might've served Sandler better than the silly melodrama on display, which mitigates the screwball humor Furie stages at the beginning. This picture is a real mess from a narrative standpoint, and the acting isn't dynamic enough to hold interest. There's a terrible, shapeless sequence wherein Lombard barges into a Women's Press decency meeting yelling, "Cock-a-doodle-do!" and a limp bit in the courtroom with Carole getting blue on the stand (much to everyone's delight). Brolin has Gable's squint, mouth movements and vocal inflection down pat, yet his King is made to be so downtrodden that it comes as a surprise when Lombard expresses rapture over his bedroom prowess (again, in reality, the comedienne once famously confessed she adored 'Pa' but that their sex life was lacking). Had Sandler gone full-throttle with a high-comedy approach, the movie may have been a hoot. However, the phony dramatics overshadow everything in the end--and since the film is useless as a biography, a good portion of "Gable and Lombard" is utterly without purpose. ** from ****

GABLE AND LOMBARD is the kind of film that Hollywood history buffs hate, but fans of love stories just eat up. In other words, the truth is often distorted or ignored, but the emotional core is dead-on.

I won't dwell on the many mistakes, but two are glaring, and must be pointed out. While Carole Lombard was a truly gifted actress (particularly in comedies), she was never Hollywood's #1 star (Lombard never achieved the status of Shearer, Garbo, Davis, or Crawford); L.B. Mayer's 'ordering' rising star Gable to 'make nice' with her, so she'd agree to do a picture at Metro with him is pure hokum. Actors had virtually no say in 'loan outs' in the 1930s; studios made all the decisions, based on maximizing their profits, and controlling their stars. A case in point was Gable's participation in Columbia's IT HAPPENED ONE NIGHT. Had he been given the opportunity, he'd have refused to go (he considered it a 'step backward', and it was, in fact, done as punishment against him, on MGM's part), and he would have never have won his only Academy Award!

The other major gaffe is showing Gable as an AAF officer at the time of Lombard's death. He didn't enlist until after she'd died, partially because of the guilt he felt over his lack of involvement in the war effort, a cause Lombard had died supporting. While Brolin, as Gable, looks terrific in uniform, it just wasn't the truth.

The effectiveness of a story like this relies heavily on the actors portraying the stars, and GABLE AND LOMBARD offers an interesting combination. Despite David Janssen's heavy lobbying for the role of Clark Gable (he always felt he was, actually, Gable's son, and he did, in fact, share many of the actor's physical and vocal qualities), the producers felt that, at 46, he was too old for the role, and went, instead, with 36-year-old James Brolin. Brolin, best-known for his stint in the hit TV series, 'Marcus Welby, M.D.' (and later, in another series, 'Hotel'), was an actor who had all the right 'tools', but never quite achieved film stardom. Nearly cast as Roger Moore's replacement as James Bond (despite a terrific screen test, producer Cubby Broccoli decided to stick with United Kingdom actors), Brolin, with a mustache, looked eerily like Gable during the actor's peak years, and could mimic the actor's vocal inflections and physical mannerisms very effectively. The end result of his mimicry, however, was a Gable who lacked depth, and his performance frequently seemed more a caricature than a portrayal.

Jill Clayburgh, as Carole Lombard, faced a different problem. The 32-year-old actress (who would achieve stardom the following year, in SILVER STREAK), had a very well-written role, which was, in fact, quite close to the actress' actual personality (big-hearted yet at times acerbic, Lombard was known for her salty humor and frequent use of four-letter words, in stark contrast with her classic beauty). Clayburgh, however, with her broad features, looked nothing like Carole Lombard. (If you're unfamiliar with Lombard's 'look', her closest contemporary counterpart is Michelle Pfeiffer.) Clayburgh plays the role very well, but, knowing this, I could never 'suspend disbelief' enough to accept her as Lombard.

However, as I said at the beginning, if you are hooked by true love stories (and aren't familiar with the 'real' Carole Lombard), GABLE AND LOMBARD has all the elements you can ask for; antagonism turning to attraction and then 'forbidden' passion, nearly insurmountable obstacles blocking happiness, eventual triumph, then a heartbreaking tragedy that would ultimately immortalize the lovers. Gable 'carried a torch' for his lost love until his death, in 1960, and GABLE AND LOMBARD gives ample evidence of her impact on his life.

The film is a flawed, but moving testament to their love.

Highly fictional movie about the love affair between Clark Gable (James Brolin) and Carole Lombard (Jill Clayburgh). It chronicles how they first meet and hate each other but eventually fall in love. The problem is Gable's first wife won't give him a divorce and their studios are threatening to drop them.

There are so many factual errors here it's pointless to try and discuss them all. The biggest one for me was the portrayal of Louis B. Mayer (badly played by Allen Garfield) as a kindly man. He was loud and obnoxious and treated the actors like dirt. Here he comes across as a nice gentle father figure which is wildly inaccurate. Still if you just accept this as a fictional tale it's not too bad. It's pretty obvious they spent a lot of money on this--there's some truly beautiful sets and clothes. Also the script isn't too bad. It mostly consists of Brolin and Clayburgh screaming and arguing with each other or hopping into bed...but it still works.

Brolin is VERY convincing as Gable. He looks like him and sounds like him. Also, from what I've heard, he pretty much gave an accurate portrayal of Gable as he really was. Clayburgh looks nothing like Lombard but her acting is excellent and she does show Lombard as she actually was--strong, funny and independent. Also Red Buttons is excellent as a studio publicist. Beautiful music score too.

There are a few problems. The movie is way too long--it's 131 minutes and should have been shorter. Also there's a truly tacky sequence involving a "c**k soc" that should have been eliminated. But, as a fictional tale, this is pretty good. R rated for swearing and very frank sexual talk.