Better Late Then Never

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

This movie feels like it was made purely to piss off people who want good shows

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

A lovely movie. Ann Harding in one of her many best performances, in a matinée movie with unusually literate dialogue, and a stunning score by Max Steiner, showing he could really compose when free of Selznick memos and the requirement to make Bette Davis seem romantic. Note his very subtle use of a C major theme, which initially appears over Paul Lukas's portrait, initially seeming to be excessively pro-German, accentuated by its second appearance as a military march, but which eventually reveals itself as a Peace and Harmony motif. Excellent performances from Paul Lukas and Brian Aherne, not to mention Jean Hersholt (Greed, Grand Hotel) who seemed to be able to play anything, having been in movies since 1906; and sumptuous production from RKO, the masters of this in the 1930s.You will also spot some rather good serve-and-volley tennis being played by Ralph Forbes.Note to other reviewers: if you want Mae Clarke being squished in the face with a grapefruit, this is not the place to look, but criticizing a movie for not being like another movie is an elementary critical fallacy.

Lord, what a dreary movie they made out of so much good talent! This is a dreary, depressing movie on a dreary subject (she's married to one, loves a different one, so they all talk, talk, talk...).The mood is somber and dreary. The talk-talk-talk is dreary. The music is absolutely funereal.One of the main characters was severely wounded in the war (I might say, drearily wounded in the war). His problem is, he has no further will to live. Neither will you, perhaps, once you watch this movie.And look who they had available. First and foremost, they had Ann Harding, who epitomizes class for me -- cool and elegant in movies like "The Animal Kingdom." They had Brian Aherne -- so likable and amusing in entertaining movies like "Merrily We Live" or "A Night To Remember" or "My Sister Eileen." They had Jean Hersholt, who does the honest, salt-of-the-earth character so well as Dr. Christian, or as the husband in "Emma." They had Paul Lukas, a fine actor who played the German or generic foreigner in so many movies -- more likable than sinister, usually.And they made of this a dreary 83-minute dirge.

THE FOUNTAIN is a sombre film set during WW I with Ann Harding as an English woman married to a German officer. She meets, after many years, an old friend (Brian Aherne) and falls in love. He's British, but they're staying at the house of her relatives in Holland (neutral during WW I) after he's been "pardoned" from a prisoner of war camp (an odd extended opening sequence that goes nowhere).Everything seems fine since she never loved her husband (Paul Lukas) but then they get word he's been hideously wounded and is coming home to die. What ensues brings out the best and the worst in various household members. Co-stars include Jean Hersholt, Violet Kemble Cooper, Sara Haden, Ralph Forbes, Ferike Boros, and Frank Reicher.Harding is radiant and lovingly photographed. She gives a sad and touching performance here. Harding remains one of the most undeservedly forgotten stars of the 30s. Lukas gives one of his best performances. Aherne is solid and utters the final line, one of hope, "England is beautiful in the spring."

Spoilers - not that it matters.Does anyone remember Charles Morgan, respected dramatist of the 1920s? John Cromwell had shown a tasteful attention to performance in his early films and someone must have thought he'd be a good match with the author's ponderings on the British character and qualities like `stillness of spirit.' Too bad.There's hope with the opening, as a train carriage of cheerful WWI British officers report to what turns out to be internment in neutral Holland, a camp run by commandant Stack who they soon serenade with a chorus `He's a jolly Good Fellow.' Recruiting book worm Aherne, despite his monologue about `being in here is the only real freedom you've ever had' they determine to tunnel the 6' diameter excavation which the commander finds with some amusement now that an amnesty has been put in place and they can walk out, paroled not to leave the country.Aherne has an invitation to visit his long time friends at Baron Herscholt's Ekendaal estate He re-encounters English born Harding who has always had the genteel hots for him, despite being married to a German officer. The British navy is defeated at Jutland. Goodbye dramatic ironies. Hello Hollywood clichés. Sure enough `Rupert is coming home, horribly wounded.' Husband Lukas shows up with one arm and suffering from gas poisoning. He is of course a `Good German' complete with an accent that's useful when he has to read the fruity twenties literary dialogue plausibly. Dr. Reicher (good briefly) advises `His life is in your hands.' Brian and Paul naturally become mates but Haden at ninety degrees from what we expect from Andy Hardy's Aunt Milly blows the whistle, meaning that Baron Gene has to defend Anne from her slanders. However Paul has already figured out that the stars are gazing into one another's eyes up those stone stairs in the music room. Harding spent her stellar career being lady-like in these super tedious, studio bound vehicles. This one comes complete with Hollywood privileged class clichés of lawn dialogues and leaded window sitting rooms. Every one tries really hard with a couple of striking tracking shots - Harding's arrival, Lukas on the stairs - to show for it but no one seems to realize that their notion of classy entertainment is ridiculous, particularly when compared with the vigor of the Cagney and Robinson movies contemporary with it.Ends with Brian advising Anne `England is beautiful in the spring.' The only other Charles Morgan movie was made in Germany a couple of decades later.Recognizable early Steiner score.