Le retour de l'étranger

A very quiet story in terms of action, but full of wonderful performances in material that could have been easily dull in the wrong hands. Miriam Hopkins is at her most beautiful in her prime. When she's on the screen,you simply can't miss her star appeal, which is absolutely magnetic. Not only a beauty, but she proves herself again to be a great actress with a dynamic range. (Also see Dr. Jeckyl and Mr. Hyde 1932, Trouble In Paradise, Story Of Temple Drake,and Becky Sharp for Miriam at her best.) Beulah Bondi offers great support with her character that you will love to hate. Lionel Barrymore is also quite lovable in his role as the elderly patriarch of the family.

Don't see this film when you're high energy, but see this film.

Louise Storr (Miriam Hopkins) has recently divorced and she's decided to leave the big city to visit her Grandpa Storr (Lionel Barrymore) in the country. There she has a lovely time and reconnects with family...but she also ends up finding solace in the arms of a nice neighbor, Guy Crane (Franchot Tone). The only trouble is that Guy is already married to Nettie...though he and his wife seem to have little in common...far less than he and Louise.

Despite the underlying conflict in this film is marital infidelity, this isn't exactly the overall tone of the film...nor is it a film endorsing this (like some Pre-Code films did). It's much more a nice slice of life sort of film and the sexual tension between Guy and Louise is just a part of this. However, this also makes it an example of the sorts of topics that you might have found in the Pre- Code days (up until mid-1934) where adultery was discussed in movies...and after it was rarely mentioned at all and when it was, it was severely punished.

Overall, this is a very nice, meandering sort of picture. Very well acted and well worth your time. Barrymore, as usual, steals the show but the rest are also quite good.

A King Vidor Metro production, but it sure smells like 20th Century Fox, with its rural setting, leisurely pacing, and prosaic dialog--it's even based on a novel by, and co-screenwritten by, Phil Stong, who wrote 20th's "State Fair." Lionel Barrymore, wearing a fake beard that wouldn't fool an eight-year-old, is the patriarch of a successful Iowa farm, a Civil War vet (just barely--at 85, he'd have been 17 in 1865) saddled with a troublesome family he lives with, including a wonderful Beulah Bondi, as a calculating shrew. Granddaughter Miriam Hopkins, a divorcée, comes to visit from New York and falls in love with both the farm and married neighbor Franchot Tone, while hired hand Stu Erwin drinks and provides the modest comic relief. The writing's less than first-rate- -scenes just end, and there's more detail to the workings of farm life than necessary--but it's a quiet, touching character study, and Hopkins, often given to histrionics elsewhere, is restrained and appealing. The characters' dilemmas feel real, and the bittersweet ending resonates.

A delicate film, plenty of little marvellous details. I do not know why we cannot watch this film more times on television, because it is, in my opinion, the best film that King Vidor ever filmed. And I could watch it again and again.

MGM usually made glossy films about society swells, but this one is a picturesque film about rural America set in the - at that time - present day. 85 year old Grandpa Storr (Lionel Barrymore) learns that his granddaughter by his eldest child, Louise (Miriam Hopkins) is coming to the farm for a visit from New York City. Although the two have never met before, they quickly connect. Storr has two of his children living with him - his milquetoast attorney son (Grant Mitchell) and his wife, and his controlling daughter Beatrice (Beulah Bondi).

Louise meets and falls in love with Grandpa Storr's married neighbor, Guy Crane (Franchot Tone). Guy went away to college and was changed by that experience, but went ahead and married his childhood sweetheart Nettie, mainly because they had already planned it. But Guy still has an interest in the bigger things in life such as art and literature - this is where he and Louise connect - while Nettie has never been off the farm. Nettie is a true friend to Louise, and this is what makes the whole situation more complicated, because neither Guy nor Louise could ever see themselves hurting the guileless Nettie.

And then, suddenly, Grandpa Storr becomes senile, believing that the Civil War is still going on, and his daughter Beatrice is itching to commit him so she can take over his farm and his funds.

The film never states WHERE it is located, but I would guess Pennsylvania, especially if Grandpa Storr has actual memories of Civil War battles occurring nearby. This is a very good understated performance by Hopkins, who so often played overwrought characters and women living on the edge of society. Beulah Bondi is terrific as a greedy shrew who keeps reminding Louise that she is a "scandal" because of her attention to Guy and the fact that she is separated from her husband. Stuart Erwin is the faithful but often drunken hired hand.

This film really excels at showing the rural lifestyle in the early 20th century - the dances, the harvesting, the neighbors helping each other out, the big dinners, and the beautiful countryside, exquisitely directed by King Vidor. For some reason - maybe rights problems - this is seldom shown on Turner Classic Movies in spite of being an MGM property. I highly recommend it if you ever get a chance to see it. Do note that there is about a minute missing from the end of some prints. It was common for precode era films to be rereleased with some scenes cut, but the scene missing is really nothing that would have been objected to by the censors.