Ainda Serás Minha

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.

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. :-)

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.

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

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.