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Le vandale

Original title: Come and Get It
  • 1936
  • Tous publics
  • 1h 39m
IMDb RATING
6.9/10
2.6K
YOUR RATING
Frances Farmer, Edward Arnold, and Joel McCrea in Le vandale (1936)
An ambitious lumberjack abandons his saloon girl lover so that he can marry into wealth, but years later becomes infatuated with the woman's daughter.
Play trailer1:39
1 Video
26 Photos
DramaRomance

An ambitious lumberjack abandons his saloon girl lover so that he can marry into wealth, but years later becomes infatuated with the woman's daughter.An ambitious lumberjack abandons his saloon girl lover so that he can marry into wealth, but years later becomes infatuated with the woman's daughter.An ambitious lumberjack abandons his saloon girl lover so that he can marry into wealth, but years later becomes infatuated with the woman's daughter.

  • Directors
    • Howard Hawks
    • William Wyler
    • Richard Rosson
  • Writers
    • Edna Ferber
    • Jane Murfin
    • Jules Furthman
  • Stars
    • Edward Arnold
    • Joel McCrea
    • Frances Farmer
  • See production info at IMDbPro
  • IMDb RATING
    6.9/10
    2.6K
    YOUR RATING
    • Directors
      • Howard Hawks
      • William Wyler
      • Richard Rosson
    • Writers
      • Edna Ferber
      • Jane Murfin
      • Jules Furthman
    • Stars
      • Edward Arnold
      • Joel McCrea
      • Frances Farmer
    • 60User reviews
    • 28Critic reviews
  • See production info at IMDbPro
    • Won 1 Oscar
      • 4 wins & 1 nomination total

    Videos1

    Trailer
    Trailer 1:39
    Trailer

    Photos26

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    Top cast60

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    Edward Arnold
    Edward Arnold
    • Barney Glasgow
    Joel McCrea
    Joel McCrea
    • Richard Glasgow
    Frances Farmer
    Frances Farmer
    • Lotta Morgan…
    Walter Brennan
    Walter Brennan
    • Swan Bostrom
    Mady Christians
    Mady Christians
    • Karie
    Mary Nash
    Mary Nash
    • Emma Louise
    Andrea Leeds
    Andrea Leeds
    • Evvie Glasgow
    Frank Shields Sr.
    Frank Shields Sr.
    • Tony Schwerke
    • (as Frank Shields)
    Edwin Maxwell
    Edwin Maxwell
    • Sid LeMaire
    Cecil Cunningham
    Cecil Cunningham
    • Josie
    Charles Halton
    Charles Halton
    • Mr. Hewitt
    Edwin August
    Edwin August
    • Restaurant Patron
    • (uncredited)
    Bobby Barber
    Bobby Barber
    • Diner
    • (uncredited)
    Clem Bevans
    Clem Bevans
    • Gunnar Gallagher
    • (uncredited)
    Edward Biby
    Edward Biby
    • Dining Car Patron
    • (uncredited)
    Stanley Blystone
    Stanley Blystone
    • Lumberjack
    • (uncredited)
    Harry C. Bradley
    Harry C. Bradley
    • Thomas Gubbins
    • (uncredited)
    Ed Brady
    Ed Brady
    • Barfly
    • (uncredited)
    • Directors
      • Howard Hawks
      • William Wyler
      • Richard Rosson
    • Writers
      • Edna Ferber
      • Jane Murfin
      • Jules Furthman
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews60

    6.92.5K
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    Featured reviews

    7planktonrules

    No fool like an old fool....

    COME AND GET IT has a very strange cast. Having the reliable and talented supporting actor, Edward Arnold, in the lead is strange--especially since this rotund and rather doughy guy is cast as, believe it or not, a lumberjack when the film begins! Seeing him supposedly fight and beat up tough guys seemed pretty funny--especially since Arnold looked as if he'd have had a hard time beating up Frances Farmer--let alone burly lumbermen!! Additionally, having him play a very flawed hero who has a penchant for a very young lady (Frances Farmer) make it an unusual film.

    The film begins with Arnold being made the foreman of a logging company. However, his ambition is huge and he immediately has his sights set on running the entire company. So, to do so he agrees to marry the boss' daughter even though he could care less about her. Additionally, he'd just fallen in love with a spunky saloon singer (Frances Farmer--in a dual role). Regardless, his ambition is primary and he dumps farmer on his pal, played by Walter Brennan (who received an Oscar for his performance as a nice Swedish guy).

    Years pass. You see that Arnold's wife is a bit of a cold fish, though they did have some kids and they now own the company. Arnold just happens to visit his old pal Brennan and finds that through the magic of Hollywood clichés, Brennan's daughter (played by Farmer again) is the spitting image of her deceased mother. Arnold is an old lecher and takes her under his wing--with the intention of recreating the relationship he'd had with her mother. When his oldest son (Joel McCrea) finds out, he goes to confront the lady but falls for her instead. Naturally, this sets the son and hard-driven father against each other.

    Considering that this is based on an Edna Ferber novel, it isn't surprising that the film is about a man building an empire as well as infidelity--recurring themes I've noticed in several of her other films that were filmed during the era (such as CIMARRON, GIANT, SHOWBOAT and SO BIG). As a result, the film has a big and rather sweeping quality about it but is also a study of a hard-driven man who is deeply flawed.

    Overall, the movie is exactly what you'd expect from such a film--good acting, big scope and a lot of romantic tension. Nothing extraordinary here, but it's enjoyable and competently made. I can't, however, understand how Brennan got an Oscar, as this was far from one of his best performances. Perhaps it was a slow year.
    lestmore

    Review for "Come And Get It"

    Come And Get It is a wonderful piece of filmwork. The psychological aspects that go on in this film are way ahead of 1936 thinking. And who can ignore Frances Farmer's star turn as both mother and daughter. One cannot dismiss the obvious talent that Frances Farmer possessed. Edward Arnold is equally adept at playing Barney Glasgow. However, actor Joel Mccrea clearly lacks the acting chops to keep upwith his co-stars. Obvious in the scene with FF when she is cooking the candy. A brighter, more aware and gifted actor would have proved an asset...but nevertheless..the film holds up after the years. And proves that Hollywood's much ballyhooed "golden era" is justified!
    9lugonian

    Falling in Love Again

    COME AND GET IT (United Artists, 1936), directed by Howard Hawks and William Wyler, is another winning drama from producer Samuel Goldwyn, whose previous 1936 efforts, THESE THREE and DODSWORTH, remain true classics. Adapted from the popular novel by Edna Ferber, author of "Cimarron," COME AND GET IT can be summed up as a soap opera for men, or best categorized as a "guy flick," in which the story centers upon lumbermen, particularly two best friends and their love for one woman. Of the major actors to enact the lead, Edward Arnold, a robust 200-pound plus actor, became the chosen one. Arnold, a veteran character performer with some leads to his credit, gives a sincere and brilliant portrayal in what's regarded as his very best role. While this is Arnold's showcase from start to finish, his co-stars have turned out to be winners in the end. First there's Walter Brennan in his first of three Academy Award wins in the supporting actor category; and Frances Farmer, on loan from Paramount, a newcomer with three films to her credit, in a challenging but rewarding role as a saloon singer and later, her daughter. Joel McCrea, whose name is billed second following Arnold's, has a few scenes, and comes close to being overshadowed, however, his part is crucial to the story.

    In true Edna Ferber tradition, COME AND GET IT is set during a passage in time. It opens in Iron Ridge, Wisconsin, 1884, where Barney Glasgow (Edward Arnold) is introduced as the overseer of a group of lumbermen. After a couple of brawls showing Barney is a fighter and natural born leader, enter his best friend, "Swan" Bostrom (Walter Brennan), a lumberjack whom Barney affectionately calls "that crazy Swede." Barney, who is ambitious enough to prepare himself to marry his employer's (Charles Halton) daughter, is quite a ladies man. After meeting Lotta Morgan (Frances Farmer) and winning a bundle of money at the roulette table, he takes a sudden interest in her. The two get acquainted as Lotta agrees on getting the money back for her employer (Edwin Maxwell) by placing something into Barney's drink. Lotta changes her mind as she gets to know him, and following a now classic saloon brawl involving metal serving trays, Lotta runs off with Barney and Swan. However, in spite of Barney's true affection towards Lotta, he breaks away without a word of goodbye to follow his ambition to go into a loveless marriage in order to become a very rich man. Upset over the rejection, Lotta in turn marries Swan. Shifting to 1907, Barney is now president of his lumber company, father of two children, Richard (Joel McCrea), who acts as his assistant in the plant, and Evvie (Andrea Leeds). His marriage to Emma Louise (Mary Nash) is relatively unhappy mainly because he is unable to forget Lotta, who has since died. When Barney takes time away from his business to be with Swan, all of his cherished memories and love for Lotta are brought back when he is introduced to Swan's grown daughter, also named Lotta (Frances Farmer), thus, falling in love all over again, and doing everything possible to spend much time with the Bostroms, especially Lotta. Conflict arises between father and son as Richard has now fallen in love with Lotta and wants to marry her.

    The supporting players include Mady Christians as Karie, Swan's spinster cousin; Frank Shield as Tony Schwerke; and Cecil Cunningham as Barney's nosy and acid-tongue secretary, Josie.

    While not strong on marquee names, the strength of the movie relies on the characters they play, especially Frances Farmer. In enacting the role as mother and daughter (although they never share the same scenes), Farmer is introduced 16 minutes from the start of the story as the tough, gum chewing saloon singer with a throaty voice memorably singing a popular Civil War song titled "Aura Lee," immortalized in the 1950s by Elvis Presley as "Love Me Tender." This is Farmer at her finest. The second portion of the story in which she plays her daughter, Farmer's hairstyle is lighter blonde, naive but ambitious to want to break away from her dead-end surroundings, and speaks as well as sings in her slightly higher toned voice. Her second character doesn't come off as strong as her first, but there's a dramatic change in the story after she comes to realize that Barney, her father's best friend, is coming on to her. Farmer ranked COME AND GET IT as her personal favorite performance, and rightfully so. A pity she seldom got more chances to play stronger characters such as this. She and Arnold reunited once more in another period setting drama, THE TOAST OF NEW YORK (RKO Radio, 1937) opposite Cary Grant and Jack Oakie in support. As with COME AND GET IT, Farmer's character is torn between her love for an older rich man and a much younger one, but without the father/son conflict.

    At one point in time during commercial television revivals, COME AND GET IT used to be overplayed. Today, it's not shown often enough. Available on video cassette during the 1990s and later DVD, COME AND GET IT made its introduction to cable television on Turner Network Television in 1991, followed by frequent showings on American Movie Classics from 1993 to 1995, and on Turner Classic Movies where it premiered February 6, 2007. To get a real eye-view on the career of Frances Farmer, COME AND GET IT is a good introduction to the actress whose personal and professional career has become overshadowed by her years committed into a mental institution. For a really good tear-jerker for guys, simply "come and get it!!" (***)
    drednm

    Frances Farmer and Edward Arnold Shine

    Old fashioned to be sure, but this film version of the Edna Ferber novel boasts some great film acting by Edward Arnold and Frances Farmer (in a dual role).

    Story has the ruthless Arnold working his way up in the Wisconsin lumber business, grabbing at everything in sight, including saloon gal Farmer. He seems to care about nothing but getting ahead. When he gets the chance to marry the boss' daughter (Mary Nash), he dumps Farmer and moves on.

    Twenty year later, he has it all plus two children: Joel McCrea and Andrea Leeds. By chance he runs into old pal (Walter Brennan in his first Oscar win) who married Farmer. She's dead but her daughter (Farmer again) lives with him along with a niece (Mady Christians). The daughter is a dead ringer for the mother, and Arnold decides to move in on her (in a last gasp at youth).

    But when the daughter meets McCrea, it's all over for Arnold. The father and son have a confrontation and the old man sees the light.

    This film offers some of the best acting of any 30s film. Edward Arnold is superb, and his final scene is just plain chilling. Farmer is glorious in her dual role, her best chance at film stardom (that never happened). Also solid are McCrea, Brennan, Leeds, and Nash. Supporting cast offers Cecil Cunningham as the wise-cracking and wise secretary.

    The film may set a Hollywood record in listing THREE directors. Both Howard Hawks and William Wyler are listed as co-directors while Richard Rosson is credited with the timber scenes (which are great).

    Worth a look for Frances Farmer and Edward Arnold!
    7brogmiller

    Hollywood hybrid.

    Behind every film there is usually a story and this one is certainly no exception. Howard Hawks departed the production two-thirds of the way through(whether he quit or was fired is debatable) and a reluctant William Wyler was instructed by Samuel Goldwyn to complete it. As the Director's Guild was as yet not recognised by the studio, both directors were given credit. If two directors were not enough, the tree-felling sequences were handled by Richard Rosson. These scenes are spectacular but guaranteed to have conservationists rolling on the floor and foaming at the mouth.

    It would seem that the film was shot in script order and the rumbustious early scenes have Mr. Hawks written all over them whereas Mr Wyler's more subdued tone is evident later on. Both directors disowned the finished product and despite some telling scenes the film represents neither of them at their very best. Gregg Toland is behind the camera(Rudoph Maté for the tree-felling) and the soundtrack to the characters' lives is supplied by the Civil War ballad 'Aura Lea', later reincarnated as 'Love me Tender.'

    It is the splendidly spirited performances that carry it through notably those of Edward Arnold, Walter Brennan, here making filmic history as the first actor to win a Best Supporting Oscar and the ill-fated Mady Christians whilst Howard Hawks' 'discovery' Frances Farmer is utterly luminous. Of all the stars that fell from the Hollywood firmament, the tragic Miss Farmer was surely one of the most dazzling.

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    Storyline

    Edit

    Did you know

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    • Trivia
      Howard Hawks's take on his being "fired" is that he wasn't. Rather, he quit, after refusing to agree with Samuel Goldwyn, who wanted the narrative to stay closer to that of the book. Goldwyn had been ill and absent for the 42 days of shooting that Hawks directed and was unaware of Hawks' rewrites. Hawks left the production with only 14 days left to go.
    • Goofs
      During the early montage showing the lumber process, fluorescent lights are seen on the ceiling of a workshop. While they had just become commercially available when the film was made, this scene takes place in 1884, decades before their refinement.
    • Quotes

      Swan Bostrom: You.. you love him Lotta...

      Lotta Morgan: What do you think?

      Swan Bostrom: I think... I think... I think I have another drink.

      Lotta Morgan: Hey you better leave some of that for Barney.

      Swan Bostrom: I ain't have to. He ain't comin' back.

      Lotta Morgan: What did you say?

      Swan Bostrom: That's what I tried so hard to tell you and it yust slip out...

    • Connections
      Edited into Sunset in Wyoming (1941)
    • Soundtracks
      Aura Lea
      (1861) (uncredited)

      Music by George R. Poulton

      Lyrics by W.W. Fosdick

      In the score often as Lotta's theme

      Performed by Frances Farmer and an unidentified quartet in LeMaire's bar

      Reprised later by her, Edward Arnold and Walter Brennan

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    Details

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    • Release date
      • December 23, 1936 (France)
    • Country of origin
      • United States
    • Language
      • English
    • Also known as
      • Come and Get It
    • Filming locations
      • Clearwater River, Idaho, USA(logging sequences)
    • Production company
      • The Samuel Goldwyn Company
    • See more company credits at IMDbPro

    Tech specs

    Edit
    • Runtime
      1 hour 39 minutes
    • Color
      • Black and White
    • Aspect ratio
      • 1.37 : 1

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    Frances Farmer, Edward Arnold, and Joel McCrea in Le vandale (1936)
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