As Três Herdeiras

Most of your reviewers certainly had an aversion to this film. One of them even asserted it had no music despite an excellent score by Max Steiner. I thought Barbara Stanwyck with all her emotional storms and plottings really sizzled. This must have been one of her best roles ever. I couldn't stop watching it though I came in somewhere in a courtroom scene after the beginning and missed all the prologues. I thought the emotional relationships of everybody involved were strong and fascinating. In contrast to most of your reviewers I thought the plot lines got wrapped up satisfactorily and clearly and I was quite happy with how everything finally turned out. Especially with Stanwyck and Brent trying finally to make a go of it basically because of their child. Call me soft hearted and sentimental but I felt for them and their final solution. Though this film rubbed most of your reviewers the wrong way I loved it and thought it was great.

Three girls, the youngest descendents of the Gaylord family, one of America's most royal families, are orphaned at a young age. Right before he goes off to France to fight in WWI, their father tells the oldest, Fiona, never to sell the land. By the time the sisters have become adults, they have had to squander most of their money to pay for lawyers to defend their property. Through certain loopholes in the father's will, a man named Charles Barclay stands to gain possession of the Gaylord land, on which he wants to build a complex called Barclay Circle. Barclay is actually based on John D. Rockefeller, who was buying up land and buildings from affluent families in New York so he could build Rockefeller Center.

This film deals mostly with the melodramatic concerns of the three sisters. Fiona, well played by Barbara Stanwyck, although it's certainly not to be counted as one of her best roles, seems like a cold, domineering woman, and it becomes clear that she has some skeletons in her closet. Susanna, played by Nancy Coleman, is a little ditsy and completely in love with a young modern artist named Gig Young. Coleman's was my favorite performance in the film. Evelyn, played by Geraldine Fitzgerald, is a rather pretentious seductress with a monocle who married into noble blood in England, but that doesn't stop her from trying to steal Gig from her sister. The three sisters are developed quite well but, as is the major trend in The Gay Sisters, never well enough. Charles Barclay is played by George Brent. He isn't very good. Well, he would be satisfactory if the story had played out the way it should have, but he always seems like a scumbag in the film. When we're asked to sympathize with him late in the film, it's impossible. Gig Young is played by, huh?, Gig Young. No, he's not playing himself. What happened is that the actor, who had acted in several movies previously under his real name, Byron Barr, was pressured by Warner Brothers to change his name to something more catchy. I'm not sure who made the final choice, but he eventually changed his screen name to Gig Young, after the character whom he plays in The Gay Sisters. Weird, eh? Young is quite good through most of the film, but the script does some unfortunate things with his character late in the film which ultimately harm the audience's sympathy for him. In two other supporting roles, Helen Thimig and Gene Lockhart are quite good.

The Gay Sisters had great potential to turn out to be one of the great cinematic family sagas. The characters are all interesting, as are their situations. Unfortunately, the script never strives for anything more than the simplest melodrama. If it had made the interrelationships of all the major characters more complex, fleshed out, for example, the rivalry between Evelyn and Susanna or made the flashback more intricate, the film could have been fantastic. It also could have fleshed out the prologue more, let us know more about the Gaylord family. We need to care more about the characters and we need to sympathize with them more. And the ending needed some major fixing. It basically just gives up at the end. Fiona's problems are solved so poorly that it hurts. Whatever sympathy her character had gained as the film progressed falls apart. It's also far too happy. This story seems moving towards tragedy, or maybe just a sense of historical significance or loss. And we still hate Barclay. And the conflict between the two sisters and Gig is never solved. As bad as Fiona's story ends, Susanna's, Gig's, and Evelyn's is even worse.

I still liked the film. It's thoroughly watchable, even if it doesn't involve us like other great films of the era. 7/10, mostly for its potential. It should have been remade, or the novel should have been re-adapted, at some point during the studio era. It is too dated to be remade now. The 1950s would have been the best time, during the time of films like Giant.

It's a little disconcerting to have a character named Gig Young in a movie...played by Gig Young. But this film is where Gig got his name and also a nice career boost after playing small parts under another name.

I'm going to go against the majority of the other comments and state that I really enjoyed this film, mainly because of the vibrant performance of Barbara Stanwyck as Fiona. She was funny, angry, vulnerable, caring, and feisty as the oldest of three daughters whose mother died on the Lusitania, and whose father was later killed during Woar War I.

As the "man" of the house, Fiona has stood steadfast for years against settling her father's will which would therefore allow a Donald Trump type named Charles Barclay to get the family home. But Fiona's keeping a secret as to why she hates Barclay so much. Geraldine Fitzgerald is the middle, flirty sister, who is married to an Englishman but craves her youngest sister's boyfriend (Gig Young).

If you're a Stanwyck fan, this is a no miss.

In the case of 1942's The Gay Sisters, more is supposed to mean better. The mansion set and the very epic-like nature of the sisters' story lines signify that it is a top-grade project from a top-grade studio (Warner Brothers). Barbara Stanwyck, as the older sister, Fiona Gaylord, seems to be particularly tough. She is never really a soft-touch, except in those moments where she undergoes a severe script-sanctioned transformation. But I think she is at her most real in this film, and it is more true to her off-screen self. Like the character she plays, she was also orphaned; and also, like the character she plays, she had one son, so in many ways, this project is tailor-made for Stanwyck. It is a treat watching her, and if modern audiences can get over the title, they will discover a classic gem.

The three Gaylord sisters (Barbara Stanwyck, Geraldine Fitzgerald, Nancy Coleman), lose their parents at an early age and fight to keep their family mansion. George Brent plays the guy after the mansion and when you find out why your eyes will roll so hard they'll fall out of your head. Stanwyck is feisty to the point of obnoxiousness and Brent is a prick. He's also a rapist, if I interpreted one crucial scene correctly. Very disappointing melodrama with a plot that's much ado about nothing. Inappropriate moments of humor don't help. Protracted opening with Donald Woods as the father who goes on and on about the family legacy and what it means to be a Gaylord has next to nothing to do with the rest of the movie. One little bit of interesting trivia: actor (and future murderer) Gig Young took his stage name from the character he plays in this movie. Before this he went by his real name of Byron Barr.