Trois camarades

This MGM movie, based on a novel by Erich Maria Remarque, is the story of three German army buddies, tracing there comradeship from WWI into the years between the world wars.

After the Great War, three army buddies--Erich Lohkamp (Robert Taylor), Otto Koster (Franchot Tone) and Gottfried Lenz (Robert Young)--open an auto repair shop together. Although the story seems to center around the courtship and marriage of Erich Lohkampr and Oscar-nominee, Margaret Sullavan (Patricia Hollmann), it really demonstrates the closeness of all four friends; their individual hardships and struggles; and how much they all care for each other, as the harbingers of WWII start to show themselves in the streets of Germany between the wars.

The movie was OK, I can't say that it was great. In fact, the movie didn't even approach the greatness of Erich Maria Remarque's book, All Quiet on the Western Front and the movie based on that novel.

What a lovely movie, with such touching performances by all involved it will fill your heart. The three comradesin post war Germany, are Robert Taylor, Franchot Tone, and Robert Young. As the war has ended the three friends try to start life again by opening a auto repair shop. They are all three, different in their ideals and their goals, but are loyal to each other in a wonderful way. Along the way, they meet Margaret Sullivan, a young woman who's past is filled with illness and a mysterious friend by the name of Herr Schultz. He seems to be her benefactor, but the relationship is never defined by more than that. She falls in love with Erich (Taylor) but does not want to marry him, because she is ill, and knows that she will ultimately die. Otto (Tone) persuades her to marry him because even if their time together is short, love is all that matters. She marries him, and falls ill, having never told Erich about her fate. Gottfried (Young) is the idealist who falls the victim of the times, and is killed which breaks up the three comrades. They continue on not telling Pat (Sullivan) he is dead so that she will take an operation to get better. She does, but in the end, sacrifices herself, dying in the arms of her husband (Taylor). It is all and all a beautiful movie, that tells of love and friendship, without selfishness, or pride. Robert Taylor is great in what I would say is a refined, and quiet performance. His love for her is shown in many ways, without words, just a kind of gentleness. This follows the 1936 role of the doomed lover, Armand Duval in Camille, which I consider one of his best performances. Armand was torn and unhappy, Erich is blissful and ardent. Margaret Sullivan is beautiful and valiant as Pat, and her performance gives to Taylor, as did Garbo, a chance to show what a fine actor he really was. A lovely film.

This movie was notable for: the subtle and mysterious acting of Margaret Sullavan; the screenplay by Scott Fitzgerald (which was literary and a bit on the wordy side); and the interesting look at Germany immediately after WWI. Personally, I would have liked to have seen more about the politics and tensions in Germany (playing up Robert Young's role), and less of the Camille-esque love & decline plot. But that's just me.

I thought that the film was carried by Franchot Tone and Margaret Sullavan. Tone's role is nicely played down; he consistently does the right thing, even when it might appear to be the morally wrong thing. He's sure, calm, and direct at every turn. I always enjoy watching him. Sullavan was fascinating. It isn't often you see someone who appears to be an intellectual in a role that didn't necessarily call for that type. She is lovely, dignified, but hardly the standard "babe who attracts three best friends." They seem to like her for her complexity. And that in itself is unusual.

This movie was strange. It should have been better than it was -- the emphasis on the love story slows things up and even feel a bit silly. (When Pat starts wearing traditional German garb in the kitchen just cracked me up.) But the good moments, when they come, making viewing this film worthwhile.

In the early sound era, one of the most respected directors in Hollywood was Frank Borzage: in fact, he won the very first Academy Award for Best Director (and would win a second one five years later). Yet his work is now virtually unknown. THREE COMRADES came during his tenure at MGM, where he would stay for the next five years (previously, he had been one of the star directors at Fox, and then worked at Columbia and Warner Brothers); it reunited him with Margaret Sullavan, with whom he had worked on LITTLE MAN WHAT NOW in 1934, and it would represent the only official screen credit for F. Scott Fitzgerald. There are moments (especially in the romance between the poor aristocrat Patricia and the young mechanic Erik) in which you can hear the lilt and romanticism of Fitzgerald's sensibility. THREE COMRADES was one of those movies that played a lot of television in late 1950s-early 1960s, and the moving story of three comrades (played by Robert Taylor, Robert Young and Franchot Tone) and the young woman who enters their lives (played by the great Sullavan, in her Academy Award-nominated performance) trying to find some solace and happiness in the rubble of Germany in the period immediately following the first World War is remarkably touching. Though often criticized for the (many) compromises that went into the making (this was a major studio production in 1938, beset with all the production code and commercial considerations of the era), there's still enough of Remarque's powerful story, Fitzgerald's elegant dialog, and Borzage's romanticism (as well as the superb performance by Margaret Sullavan) to make this one of the most memorable American movies of the 1930s.

"Three Comrades" is one of Frank Borzage's most poignant and memorable love stories.

Based on the novel by Erich Maria Remarque on post-World War I Germany, it concerns three war veterans - Robert Taylor, Franchot Tone, and Robert Young - returning to Berlin on the brink of Nazism and poverty. They share the love of one woman played by Margaret Sullavan who provides them with hope and eternal transcendence.

"Three Comrades" is less emotionally gripping than Borzage's other anti-Nazi films starring Sullavan - "Little Man What Now?"(1934) & "The Mortal Storm"(1940) - but it is imbued with a tender, soft-focus romantic aura and Borzage's characteristic signature, the redemptive powers of love.

Like her role in Borzage's "Little Man", Sullavan is extraordinarily luminous and touching. Aside from Borzage's ethereal touch, I think she is the one that makes the film truly memorable and poignant. The final moment is particularly priceless.