No Palco da Vida

SO BIG is a lovely little gem that's only problem is it's much too short, just 81 minutes, given the story's scope. Based on a Pulitzer Prize winning novel by the usually critically underrated Edna Ferber, famed in the era for her epic novels (GIANT), one can blame Warner Bros. for their reluctance to make longer pictures in this era but at least give them credit for filming this tale, it's impossible to imagine this bleak setting being filmed at either at glamorous and elegant MGM or Paramount.

Barbara Stanwyck stars as Selina, a motherless girl who lives a well-to-do existence with her professional gambler father in big city hotels. Despite his rather shady calling, her father has taught her the finer things in life and raised her properly. Her father is shot and killed when she is a young woman over an apparent gambling dispute which leads to having to go to work as a schoolteacher in a small farming community. There she befriends a young preteen named Rolf (the wonderful Dick Winslow in a superb performance) who is forced to work on his father's farm instead of go to school, giving him books and encouraging his artistic endeavors and his dreams of life beyond farm work. Barbara marries a young farmer and gets trapped herself in the hard life of farm work, particularly after she is widowed young with a little son Dirk to raise on her own. Dirk benefits from his mother's sacrifices and becomes a young architect but is bored and impatient and fails to share his mother's love of beauty and a good work ethic that she successfully installed in Rolf.

The cast is generally superb - this is one of Barbara Stanwyck's finest early roles and she is quite moving at times. She has fine support from teen Dick Winslow, whom I don't recall seeing before, and from some generally unnoticed supporting players like Dorothy Peterson as Winslow's prematurely aged mother, Robert Warwick as Stanwyck's loving conman of a father, Earle Fox as the rather good-looking but common man she marries, and Blanche Fredrici as the rich old spinster who pines for Fox herself. There's also a delightful appearance of the much loved character Elizabeth Patterson, dressed to the nines in period costumes as Stanwyck's city landlady and excellent work by a startlingly beautiful young Bette Davis as the young artist the adult Dirk fancies. Alas, the adult Dirk, Hardie Albright, is not particularly good (and there's a particularly bad scene in which he and Mae Madison, as his married paramour, are not able to carry by themselves) but at least George Brent as the adult Rolf is better than normal if not quite capturing the fire, intelligence, and drive Winslow did as the younger Rolf. I'm surprised no one has noticed the young Selina is played by lovely Anne Shirley, who would go on to her greatest fame as Stanwyck's daughter in their classic STELLA DALLAS five years later. Talk about superb casting for a young Stanwyck!!

This story really cries out for a film of a least two hours with it's multi-decade scope, it really jumps years much too often, much too quickly, but still it's a highly satisfying, often quite touching film that's well worth seeing. This movie also makes me want to seek out Ms. Ferber's rather forgotten novel, which surprisingly is still in print.

Barbara Stanwyck is a young woman who becomes a teacher in a farming community. She gets married, has a son and tries to teach him the true value of life--which is beauty and nature. But he's more interested in money and position. Can she make him see her way?

Very well-done with another great Stanwyck performance and a young Dick Winslow giving a fine performance as Roelf...also a very young Bette Davis shines as a young artist. Very lavishly done...but the film is seriously lacking. The film is very short (80 minutes) and the story seems extremely rushed and lacks focus. I've never read the book but I know it runs over 300-400 pages--there's no way that can be condensed to 80 minutes. So I do recommend the film (I'm giving it an 8) because it is very well-done and the entire cast is great. If only it weren't so short!

So Big! (1932)

** (out of 4)

Disappointing adaptation of Edna Ferber's novel about a young woman (Barbara Stanwyck) with big plans who have to put them on hold after the death of her father. She ends up traveling to a small town where she fulfills her dream of becoming a teacher but she then puts this on hold to marry a farmer. After he dies the woman makes her life goal to raise her son the best she can and make sure he has a place in the future. SO BIG! was apparently one of Stanwyck's favorite roles and I think it's easy to see why but the end result is a real mess and never has any spark or imagination. I was really surprised to see how flat the movie was but I think it's safe to say that this material certainly wasn't right for Wellman. I know he worked in many different genres but it really seems like he's struggling to get any of the emotions on the screen and I'm sure sure of this has to do with the screenplay. The screenplay is a major mess because it never really gives the viewer any time to get to know the characters or start to feel for them. The first forty-five minutes of the movie just seem to go on and on and for no reason because at the end of them you realize that everything you've just seen could have been told in less than twenty. The problem is that everything happens so quick that you simply don't have time to connect with any of it. One minute Stanwyck is married and the next thing you know the husband is dead. One moment Stanwyck is going to live her dream of teaching but then that falls apart without any explanation. Stuff happens at various times without any reason so one has to wonder if the film had a lot taken out before being released or perhaps the screenplay was simply trying to capture various aspects of the novel and just came out very sloppy. Another major problem is that Stanwyck ages about a total of forty-years but there's never an added wrinkle to her. The only thing that changes is her hair color and this simply doesn't work because she looks very silly at age 70 or whatever and seeing that she pretty much looks the exact same as when she was a teenager. Stanwyck is good in her role but the screenplay lets her down. George Brent, Dickie Moore and a young Bette Davis have small parts scattered throughout the film. Stanwyck and Davis appear in the final sequences yet they're never shown in the same frame, which should tell you something. SO BIG! isn't a complete disaster but at the same time there's very little to recommend.

This is an extremely condensed version of Edna Ferber's Pulitzer Prize winning novel. It moves much too fast, missing the epic scope of Ferber's writing, but it works on its own small terms, establishing characters, filling them out, though in miniature, and telling Ferber's story. I wonder what she thought of this version!

Stanwyck is wonderful in this, simple and straightforward, really playing the character. This was an amazing performer. The more I see of her body of work the more impressed I am. She could do anything, comedy, serious drama, playing all kinds of characters from good to bad, "dames" to ladies.

Bette Davis shines in this early performance. She was only twenty four years old here, and without tricks or gimmicks (the kind she would use increasingly as she got older and the passion for acting faded) she plays a character, inhabits her, plays in the scene and really holds your attention. She looks lovely by the way, even with her platinum dyed tresses.

Showcase for Barbara Stanwyck who gracefully ages from a young woman to a mother in her late 40s. Barbara stands for hard work (on the farm) and the recognition of beauty in life (even cabbages are beautiful). Her understated portrayal shines as one of her best works. Story of her son, (who Barbara said was "So Big" with hands spread wide apart) is that of a privileged offspring who ignores his mother's advice and takes the easy way to money, ignoring the beauty in creativity, and hides his mother's career from society ladies. When he finally meets a good woman (a good Bette Davis) who appreciates someone with "bumps," he reveals his past but it is not bumpy enough to impress her. Instead Bette goes off to Paris and meets with celebrated sculptor George Brent who as a boy had lived with and loved the older Barbara. Interesting portrayal of two contemporary actresses with one playing the part of a woman old enough to be the other's mother and neither obviously updating the other. Good messages, good role models, with Barbara staying down on the farm as a success without having taken the easy road. A quiet gem to inspire depression-era audiences.