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Had the opportunity to view this film on TV, which was shown in the early AM hours and found it very interesting for a WWII. Clark Gable gave a great performance, despite the fact, that in real life he lost the soul mate of his life and managed to show his great ability as an actor in playing the part of Lana Turner's lover. This was sort of a pick me up for audiences during the war years and having two men after one woman was a different twist. Robert Sterling gave a great supporting role as a guy who was also in love with poor Lana Turner and managed to hold his own against Clark Gable. This is truly a great 1942 Classic and a great picture with Turner & Gable at their very best. Enjoy.

With the title this film has, I was expecting the Noel Coward classic song to be somewhere in the background. Might have helped this film quite a lot.

It's not a bad film, but it's quite a let down from Honky Tonk which was the first Clark Gable-Lana Turner combination which incidentally is my favorite Clark Gable role. It would be another six years before Gable and Turner would be paired again and in this one, Homecoming, it was Turner's picture all the way. It's my favorite Lana Turner picture.

In Somewhere I'll Find You, brothers Gable and Robert Sterling are reporters who both fall for female reporter Lana Turner. Gable keeps trying to convince Sterling that Turner's not the girl for him, but he's quite insincere in saying he doesn't have ulterior motives.

Midway through the film the action shifts from New York City to the Far East in the days just before Pearl Harbor and the last part of the film is a rousing bit of patriotic bravado, letting those people in the Orient know that the United States suffered a knockdown, but far from a knockout.

Gable's final scene, a radio broadcast from Bataan must have been especially poignant for him. This film was the only one he did between Carole Lombard's death and his discharge from military service. When he said 'more will come' he meant quite literally he was coming also. He had in fact already enlisted in the army and would be serving in the Air Corps as a tail-gunner.

Robert Sterling was being showcased in this film as well. He was MGM's junior version of Robert Taylor. Of course his greatest success was with his wife Anne Jeffreys on television in Topper.

Patricia Dane has a small, but telling role as a girl Gable picks up on the rebound from Turner. She should have had a much bigger career than she did. In the battle scene with the Japanese on the beach, small roles were given to future MGM stalwart players Van Johnson and Keenan Wynn.

Somewhere I'll Find You is not as good as Honky Tonk or Homecoming, but it's still a well crafted piece of entertainment.

Films like "Somewhere I'll Find You" are great little time capsules. We tend to forget that America has a well-grounded isolationist past even though George Bush represented a return to the philosophy before 9/11. Anyways, this films' primary function was to rev up the home-front and sell war bonds and profile Gable and Turner. It does both well. It accurately forecasts a longer war and an eventual victory. The love story was humorous. The gamesmanship within the threesome tended to get a bit irritating until I realized that it was simply a plot device to keep things moving along as if the War wasn't a sufficient motivator. The more powerful love story was the unstated one between Gable and Carole Lombard. Her death a few days into the filming must have had an unimaginable affect on Gable. I could detect nothing in his performance that measured that. This was not necessarily a good film but there is a small pleasure to be had in viewing it and paying some distant homage to 1942 America.

What a pleasant way to spend two hours when one can't sleep. I loved Lana Turner's face, a little baby fat and that water and soap look. Another thing I really liked was the dialog, even the jokes held up well, despite their 70 year span since having been written. I was surprised to come to this site and see how many of the comments were negative. I like to think myself intelligent, beyond the attraction of the quasi harlequin romance of the story, so I'm going to sum up my over exaggerated enjoyment of this film with the fact that I have yet to see either Honky Tonk or Homecoming. If I liked this one, I am sure I'll love the other two. :-)

This is a war/romance drama like too many others; but the star studded cast keeps your interest. Clark Gable and Robert Sterling are brothers and both are war correspondents that fall in love with the same girl; and what a girl(Lana Turner).Turner gets the brothers attention while evacuating children in Indochina during WWII. The love scenes between Gable and Turner sizzle and make you forget the flimsy story line. Patricia Dane is quite an eye full herself. Also in the cast are Van Johnson, Frank Faylen, Keye Luke and Reginald Owen. If you like this; check out HOMECOMING(1948), another Gable/Turner war drama with more substance.

The criticism from the earlier commentators seems fairly valid, but most of it seemed less serious after seeing the film. It does end up as a completely different movie from what it began as, but so what? And yes, there was a large element of wartime propaganda involved in it, but again, so what? Many, if not most films of the era were similarly propagandistic. The performances of Clark Gable, and Lana Turner may not have been their best, but the charm, the charisma, that something that made them stars was on display in spite of the failings of the material. The whole plot about Turner's character's character (or lack thereof) was reasonably well-done. Imagine what it would take to do such a plot nowadays. Probably at least four sex scenes. Overall, an OK film, no great loss if you miss it.

Clark Gable was always an actor well worth watching, and great performances are a great many (his Rhett Butler being deservedly iconic). Lana Turner has also been capable of giving good performances. The story sounded interesting and comedy with a mix of drama has worked well before and since, if not without its dangers.

'Somewhere I'll Find You' is notable too for Gable's wife Carole Lombard having tragically and prematurely died in a plane crash three days into shooting, wanted to see how Gable would fare in a film that would have been rather painful for him to do (apparently he wanted the rather profound title changed, and it is very understandable why, actually would have done the same if in his position). 'Somewhere I'll Find You' is not great, neither is it awful, and doesn't see everybody at the top of their game. It is very watchable and above average if somewhat uneven.

The good things are many. It's a good looking film, particularly in the way it's shot, showing fluidity and professionalism instead of haste or sloppiness. It's scored in a way that suits the tone of the film well, and it's all efficiently directed by Wesley Ruggles who doesn't allow 'Somewhere I'll Find You' to be less than interesting. Really liked the charming and amusing first half, even if it was somewhat standard and occasionally contrived, which had a humorous rapport, well-timed gags and smart script-writing. Underneath all that too there is an emotional power.

Gable fared remarkably well in his performance here, there are parts where he is subdued and more than understandably, but he is mostly very moving in particularly the end. His charm and comic gifts weren't lost and that he carried on despite being grief-stricken is to be commended. Lana Turner is lively and at times sympathetic, with a touch of melodrama which fitted the tone of the second half well. Robert Sterling is great support and the three work very well together, even if Gable and Sterling are never quite believable as brothers. The supporting cast, that includes Reginald Owen, Van Johnson and Keenan Wynn, are solid.

On the other hand, those good things are mixed with some not so good things. Namely that the more dramatic second half creates a rather jarring tone change and it feels like a film of two different halves, like two films in one which gave 'Somewhere I'll Find You' a disjointed sense. The pacing isn't as efficient and while there are enough poignant moments there are heavy-handed ones too.

This is particularly apparent towards and at the end, which did come over as preachy in the writing. The ending is rather too convenient and tacked on. The film has moments where it is a little too underplayed and also where it's a touch melodramatic.

In conclusion, above average if uneven, not quite dynamite. 6/10 Bethany Cox

"Somwhere I'll Find You," released in 1942, was produced amid some chaos. Lana Turner was fired after marrying Arte Shaw against Mayer's wishes, and Esther Williams was given the role. However, Turner got the role back. Filming was halted for five weeks due to Carole Lombard's death. And then Gable wanted the title changed, because he said he wouldn't walk back on the set with the film being called "Somewhere I'll Find You." Supposedly the film's name was changed to "Red Light," probably just to get him through the rest of it.

Since seeing "Cass Timberlane," I've been giving some thought to MGM taking the easy way out with their scripts at times. I think this film is another example. The story is quite ordinary - two brothers (and two pretty unlikely brothers, Clark Gable and Robert Sterling with nearly a 17-year difference in their ages) both interested in the same woman (Turner). All three are reporters; the film takes place right before Pearl Harbor.

This would have been a much more interesting film with more focus on the situation in Hanoi, where the Turner character goes missing, and the efforts of the reporters to get the truth printed so that the average U.S. citizen would be aware of what was really happening. This is touched on, and actually, one of the scenes in the editor's office is very funny. Instead, we have Gable going after Turner because he thinks she's a tramp and bad for his brother, who wants to marry her. You can see the ending coming a mile away.

Keenan Wynn and Van Johnson have small parts in the film. By the end of the war, Johnson would be a very popular leading man at MGM, and Wynn would see bigger roles.

The very end of "Somewhere I'll Find You" is the pure propaganda found in films made during this period. It was an important part of film-making, and it's always interesting to see the U.S. atmosphere in these years. The world was going to change mightily, and so was Hollywood, with its major stars going off to war.

Gable's return would be the most difficult - he was older than some of the other classic stars, a grieving widower, and he would forever be in the shadow of Rhett Butler. When Turner cuts a deck of cards in the film, she gets the King. And that's what we get here, just before he goes into the service.

Clark Gable was devastated, both physically and emotionally, over Carole Lombard's untimely death in a plane crash. He was three days into filming September 1942's "Somewhere I'll Find You" when he received word of the sad fate of his wife in a fatal aircraft accident. He flew to the crash site to identify her, Lombard's mother Elizabeth Peters and her press agent Otto Winkler, the best man at their March 1939 wedding. Returning from a war bond campaign in her home state of Indiana, Lombard was in a TWA plane that flew into the Potosi Mountain shortly after taking off from Las Vegas on January 16, 1942. She was declared the first World War Two-related American female death. President Franklin D. Roosevelt sent a personal note of condolence to Gable.

"He was never the same," remarked actress Esther Williams, a friend of his. "He had been devastated by Carole's death." MGM planned to scrap "Somewhere I'll Find You," figuring Gable wasn't in any condition to come back to the studio anytime soon. But after a month mourning while losing twenty pounds, Gable told the studio he would return as long as the title was changed and the set was closed to everyone except for essential film crew members. "You'll have to get them to change the title," he told studio executives. "I couldn't walk on a set with those words before me." They retitled the picture to 'Red Light' during its production, but reverted back to its original name upon the movie's release.

Esther Williams was planning to replace co-star Lana Turner since MGM head Louis B. Mayer was stung by Turner's impulsive behavior of eloping and marrying bandleader Artie Shaw in Vegas. The highly-publicized four-month marriage was an embarrassment for Mayer, who wanted to put Turner, 20, in her place. But Lana exerted her star power to appear with Gable after the delightful experience with the actor in their first of four movies together in the 1941 hit "Honky Tonk." The press tried to make a romance between the two, but Turner was vocal squashing the rumors, claiming, "I adored Mr. Gable, but we're just friends. When six o'clock came, he went his way and I went mine." Turner's character Paula Lane is a news correspondent in the middle of an affair between brothers Jonny Davis (Gable) and his brother Kirk "Junior" Davis (Robert Sterling). She's joined by the two brothers in Manila where all three are caught in the cross-hairs of the invading Japanese after the attack on Pearl Harbor. In deference to Gable's tragedy, Lana restrained her normal prankster behavior as he sadly slinked into his dressing room during setups. Turner sported a shorter hairdo than her normal long, wavy look. MGM publicized her new appearance as "The Victory Hairdo," a practical style for the 'Rosy the Riveter' women laboring on factory machinery where their regular long hair could get caught in the gears, causing injuries.

Before her death Lombard had encouraged her husband to join the war effort right after Pearl Harbor. Shortly after filming wrapped in "Somewhere I'll Find You,' Gable enlisted in the United States Army's Aviation Division. After training he was assigned to head a six-man movie crew producing documentaries on the United States bombardier efforts over Europe. Despite the official tally of flying in five combat missions with the 351st Bomb Group, his colleagues admitted the actor flew a lot more bombing flights. In one mission over Germany, a fellow crewman on board his bomber was killed and two others wounded by a German fighter plane. A bullet tore through the actor's boot and another narrowly missed his head. Hearing how close its star was to death, MGM contacted the Army Air Force demanding he be reassign to noncombat duty. Hitler heard Gable was flying bombardier missions over Germany, and placed a top priority for his troops to capture the actor, offering a huge reward.

Because of all the publicity generated by Gable's loss and military enlistment, "Somewhere I'll Find You" was a smash hit for MGM at the box office. Clips of the movie where Gable and Turner embraced with a kiss were shown on the screen in 1949's "The Stratton Story" as James Stewart and June Allyson are cuddling in a movie theater. In the picture, a viewer sitting behind them sees the two smooching, and barks, "Hey, you're good, but they're better."

This is a 'you hadda be there' picture. In 1942 this would have been one to see: the re-teaming of Clark Gable and Lana Turner after their success in HONKY TONK and Gable's first picture to be released after the death of his wife Carole Lombard. It was also his last picture before enlisting, so all stateside moviegoers knew it would be their final Gable film for the duration of WWII. And since her elopement and subsequent divorce from Artie Shaw in 1940, Turner was an ongoing tabloid headline. I guess with so many surefire elements, MGM didn't think it had to make a good movie too.

This is a 'love' triangle between three journalists, unfolding just before and just after Pearl Harbor. But since Gable and Turner make up two of the three points, there's no doubt about who will wind up with the girl. Yet we must suffer many contrived scenes during which two parts of the triangle argue tediously about the absent third. Finally, war breaks out and all debts are paid during the Japanese invasion of the Philippines,

Beginning with an ill-judged opening comic scene, right through to the rousing, patriotic ending in the midst of the noise and muck of war, nothing in this picture makes sense, fits together or works satisfyingly. It lurches clumsily from comedy to romance to comedy to action picture, as if each sequence was meant for a separate film. SOMEWHERE I'LL FIND YOU gives lie to the idea that movies from the classic period always had coherent stories.

Gable is reassuringly gruff and virile but he does seem less energetic and committed to the part than usual, and a couple of his closeups suggest the studio was exploiting his grief over Lombard, assuming that's what audiences would see in his face. Turner is livelier and her scenes with Gable are beautifully shot but never erotic. As Gable's younger brother, Robert Sterling is good-looking and lends able support and it isn't his fault that he and Gable never seem related. That was more Gable's job and he botched it. As a fast-talking B-girl, Patricia Dane is self-conscious but she makes such an impression in her two scenes and is so well-dressed and photographed that you wonder why you haven't seen more of her. You also wonder who she may have been seeing in the Front Office to get such a break. Best buddies (and rumored lovers) Van Johnson and Keenan Wynn have small parts near the end, and a few Asian actors are given sympathetic bits in the last quarter. But this movie squanders nearly every opportunity it had.

Significant resources were devoted to this remunerative Gable -Turner product. Turner turns up the heat in her two-shots with the King. Gable was at the end of his reign and would soon join the war. Young Turner shows here what we were fighting for - also is representative of a mobilized generation that would be considered the greatest. The smart script flies above current literacy levels. The plot resolves through the intervention of war, but this war went past the point of no return to normalcy. A similar national mobilization today seems unobtainable but for another greatest generation to drive it.

It's 83 shopping days before Christmas 1941 and 65 days until Pearl Harbor. Jonny Davis (Clark Gable) and his younger brother Kirk try to report on the dangers from Germany and Japan. Their appeaser editor sinks their story but Jonny tricks him. He tries to return to his apartment but finds it rented out to Paula Lane (Lana Turner), a fellow reporter from his past.

This opens with a wartime rallying scene. Then it becomes more of a standard wartime romance albeit with the first class pairing of Gable and Turner. The triangle isn't much of a triangle and the intensity isn't there. It's a lot of whining from Kirk. When they go to Vietnam, it becomes compelling for unforeseeable reasons. While it's fun to have this supernova coupling, it actually doesn't have much tension. The war action is effective propaganda for its time and Jonny goes on a nice rift on the names.

Turner and Gable's first film together after "Honky Tonk" is this story of reporter/war correspondent Gable meeting brother Robert Sterling's girl Lana and going after her. (He did meet her first, but went after her anyway, after knowing she was Robert Sterling's fiancée.) Clark and Lana's courtship and the first hour is enjoyable, but at the half-way point, the movie takes a complete 180 degree turn to the then current war and gets into the battle. Keenan Wynn and Van Johnson costar during this part. But despite its action, the movie loses the viewers' interest. To top it off, the ending gets preachy with Clark spouting off the headlines and patriotic propaganda to Lana, who's typing (but can she really be getting all this down?) You may watch this for its stars, but it's really a letdown for all concerned.

This movie begins as a comedy,then turns into a war movie,with the incredible scene of Lana Turner evacuating children.The gags are ponderous (the news paper owner who ends up completely naked in his office),and it 's hard to believe that the two brothers are a family unit.The part in Asia suffers from studio film sets:for instance the jungle looks like exotic public gardens.

The ending sets the record straight:it is a propaganda movie and nothing more.