Kings Row (in Hollywood Movies) Kings Row (1942) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Kings Row on your mobile, tablets and ipads
Plot: Five children in an apparently ideal American small town find their lives changing as the years pass near the turn of the century in 1900. Parris and Drake, both of whom have lost their parents, are best friends; Parris dreams of becoming a doctor, studying under the father of his sweetheart… Runtime: 127 min Release Date: 18 Apr 1942
A Fine Drama From The Golden Age of Movies (by LACUES)
"Kings Row" is truly a gem. The acting, photography,direction, script, and memorable score are outstanding. A number of reviewers have criticized Robert Cummings as not being up to the role of Parris Michell. I have to disagree. His earnestness and sincerity are what I appreciate in his characterization which is central to the storyline. Claude Rains, Harry Davenport, Ronald Reagan, and especially Ann Sheridan are outstanding in supporting roles.I am not an "old geezer", a phrase used by Ronald Reagan in describing Dr. Gordon, who appreciates films from the 30's and <more>
40's; unless being 59 qualifies me as such. I find myself viewing this movie several times a year on tape and Turner Classic Movies. Korngold's theme is truly one of the five top film themes. This is a sensitive and entertaining movie which stands the test of time.
Turn of the Century Soap Opera at its best! (by mark.waltz)
One of the best remembered films of the 40's, "King's Row" has gotten more attention because of Ronald Reagen's "Where's the rest of me?" line than anything else in the film. Sixty years later, "King's Row" as a film holds an important place in American history for more reasons than just a famous line barked by a future American president.The central character is Paris Mitchell Robert Cummings , the epitome of goodness and virtue. Raised by his loving grandma Maria Ouspenskaya in a wealthy home, Paris has been taught to love beyond his <more>
social standing, and ends up giving back to society what his grandmother gave to him. The secondary lead is Drake McHugh Reagen , a spunky young man who is Paris's best friend. Paris is sometimes too good to be believed; McHugh is a full-bodied character, supporting in status, who steals interest away from the lead.Paris and Drake are surrounded by characters of all classes, good and bad, who have major impacts on their lives. Dr. Towers Claude Rains is a mysterious doctor without any patients who lives as a recluse thanks to the insanity of his wife. Towers' daughter, Cassie Betty Field , loves Paris, but Towers does all he can to keep them apart while training Paris to become a doctor. Then, there is surgeon Dr. Gordon Charles Coburn , seemingly good on the surface, but filled with a dark streak on the inside that would ultimately destroy Drake. His wife Judith Anderson supports him, but daughter Louise Nancy Coleman is desperately in love with Drake, and would do anything to be with him, even defying her parents.A childhood chum, Randi Monahan Ann Sheridan is the spunky girl from the other side of the tracks who grows up to be a beautiful and kind woman. Drake's bankruptcy brings him and Randi together, while Paris goes off to Europe to study psychiatry after a tragic incident at Dr. Towers' house. During Paris' absence, Drake has an accident which Dr. Gordon is brought to. That night changes everyone's life forever.Robert Cummings is not a poor actor, but certainly not one of the best out of Hollywood. Handsome Cummings tried to change his image with this film, but was totally outshined by Reagen who proved that with the right preparations, he could be an excellent actor. I am not a Ronald Reagen fan-politically or as an actor, but he is massively impressive here. His other film credits were filled with forgettable performances, but this one I must honesty say he was worthy of an Oscar nomination which he did not receive. Also worthy of a nomination was Ann Sheridan, even though she does not make her appearance until Paris leaves for Europe. Her strength and devotion to Drake give Sheridan the chance to stretch all of her acting muscles, and Sheridan does it impressively. Sheridan, unlike her male co-stars, did have a respectable list of acting credits, and it is a pity that she was never acknowledged during her lifetime for her talents.As two different style of doctors, Rains and Coburn give two different styles of performances. Rains is quietly sensitive and filled with pain as to the torture he feels concerning his wife and daughter; Coburn, on the other hand, has everything; a wife who loves him, and a seemingly strong daughter. However, once his dark side comes through, Coburn becomes absolutely hissable. Unlike Rains, whom we sympathize with, Coburn never once wins us over. Such a lovable actor in other films, he really had a different type of part here, and chews it up like a dog on a fresh steak bone!Ouspenskaya always gives me chuckles in the wrong places. The scene where young Paris speaks French to her through the open windows of their home is laughabily over the top. Later, when Ouspenskaya is dying, she expresses such a over-the-top nobility that on several occasions, I found myself saying, "Would you just die already?" Wide-eyed Betty Field makes the most of a small part as Cassie Towers; Nancy Coleman's Louise Gordon goes from sane to psycho in such a short span that I can't help but wish there had been more to fill in what drove her there. Screen villainess Judith Anderson sadly is underused in her few scenes as Mrs. Gordon. I longed for her to have one truly evil scene, yet felt sympathy for her when she confided her fears of Louise's insanity to Paris Mitchell. Small appearances by Harry Davenport and Kaaren Verne are charming, yet undeveloped.In spite of these faults, I find "King's Row" remains a favorite of mine, thanks to its delightfully charming yet gaudy small town atmosphere reminding me of the small town in Chautaqua County New York I grew up in , the marvelous musical score, and the simply breathtaking photography. Strongest of all is Sam Wood's direction which makes the film flow smoothly from one sequence to the next. "King's Row" would have made an excellent daily soap opera, and in fact did appear briefly in the 50's as a prime time series.
This is a wonderful film with one of the greatest musical scores Hollywood ever produced. Eric Wolfgang Korngold is a splendid composer, and this may be his best film score. And the star cast makes the film historically very important. All the major parts are beautifully done. I especially admire Claude Rains and Charles Coburn as the psychiatrist and the sadistic surgeon. The scenes at the beginning with the characters as children is also wonderfully nostalgic and evokes small-town life at the turn of the 20th century effectively. This is Ronald Reagan's best film. It is a disgrace that <more>
this film is not yet available on DVD. It would be a good candidate for inclusion in the Criterion series. When can we purchase this film on DVD?
Warner Bros. KINGS ROW 1942 is ,without doubt, one of Hollywood's most enduring and best loved cinema classics from its Golden Age! Produced by Hal Wallis it was crisply photographed by ace Cinematographer James Wong Howe in glorious black & white and contains one of the finest musical scores ever wedded to a film soundtrack. Also, like his work on "Gone With The Wind" Production Designer William Cameron Menzies brought the small town setting of KINGS ROW to vivid life and director Sam Wood ensured Menzies approach was adhered to with his stylish direction.Based on the <more>
controversial novel by Henry Bellamann it is quiet astonishing that KINGS ROW ever went before the cameras at all! The story revolves around three children growing into adulthood in a small American mid - western town just before the turn of the 20th century and their exposure to all manner of human excesses, frailties and shortcomings. The book is peppered with a plethora of taboo subjects especially for the forties such as nymphomania, incest, insanity, sadism, and homosexuality. But brilliant screen writer Casey Robinson "Now Voyager" managed, by some miracle, to skillfully skirt around these problems, defuse and avoid any elaborations and viewing the finished film it is difficult to decipher any of the character weaknesses Bellamann wrote about.The cast is reasonably good! Top billed is the lovely Ann Sheridan as the feisty and endearing Randy Monaghan. It is her finest performance and the best film she ever did! Surprisingly the usually wooden Ronald Reagan turns in a more than passable performance as the somewhat carefree ladies man Drake McHugh. And he is most convincing in the startling scene where he awakens to discover both his legs have been amputated and screaming repeatedly "WHERE'S THE REST OF ME?" a line the actor would use later for the title of his autobiography in 1965 . The weakest link in the cast is Robert Cummings borrowed from Universal as the leading protagonist Parris Mitchell! His one note performance reduces the character to nothing more than an uninteresting over prim and prissy bore. Cummings retains nothing of the likable personality already established early in the picture by the delightful portrayal of child actor the ill-fated Scotty Beckett as the young Parris. Excellent too is Claude Rains as Dr. Towers and Parris' mentor, Betty Field as his deranged daughter, Charles Coburn as the sadistic doctor, the great Russian actress Maria Ouspenskaya as Parris' grandmother and her good friend Col. Skeffington played by the always likable Harry Davenport "When she passes ...how much passes with her?....a whole way of life, a way of gentleness... of dignity and honour. These things are going and they may never come back to this world". A prophetic observation no doubt!One of the great strengths of KINGS ROW is the outstanding operatic music score composed and conducted by the great Viennese composer Erich Wolfgang Korngold. Korngold's genius as a motion picture composer was not limited only to scoring action spectaculars like "The Adventures Of Robin Hood 1938 and "The Sea Hawk" 1940 for he could, with no difficulty, underscore such character driven dramas as "Between Two Worlds" 1944 , "Deception" 1946 and KINGS ROW with equal aplomb! Besides "The Sea Hawk" KINGS ROW is his finest achievement and of his 18 scores was his own personal favourite! His leitmotific approach to scoring could often be quite stunning and never more so than with KINGS ROW . The score is just chock-a-block with exquisite themes! Heard first under the titles is the powerful main theme. Brimming with bravura brass fanfares the music is decidedly heroic! The composer hadn't yet viewed the film when the magnificent piece was first conceived. And thinking the story concerned historical royalty because of its title imbued the theme with a distinctive monarchical flavour. However when he saw the script and learnt the film was set in small-town USA he offered to change it but Hal Wallis liked it so much he persuaded the composer to retain the piece and a blessing it is too. Heard in different guises throughout the picture it is particularly engaging as a scherzo variation near the film's opening as the young Parris Mitchell and Cassandra Towers skip home by the river after school. Other superb cues are the poignant theme for the grandmother, the melancholy music for Cassie's ill attended birthday party, the frolicsome variation of the main theme for the children playing on the rings in Elroy's Icehouse, the ravishing theme for Randy and the Finale music - a reiteration of the main theme - which bursts forth upon us near the end but this time with a mixed chorus intoning a line from W. E. Henley's poem "Invictus" - I AM THE MASTER OF MY FATE - I AM THE CAPTAIN OF MY SOUL. A marvellous soulful and uplifting finish to a marvellous film! KINGS ROW - a work of cinematic art! "Now...if you turn your face to that wall!"An interesting footnote:It is notable that Korngold's main theme from KINGS ROW was used for both of Ronald Reagan's inaugurations!
For those who made fun of President Reagan's movie career by always citing "Bedtime for Bonzo" and laughing may be surprised if they take the time to watch "Kings Row." Even "Bedtime for Bonzo" is not as bad as those who have never seen it think it is, because of the ridiculous title. The former sports announcer plays Drake McHugh as well or better than any other Hollywood actor of the period could have. He stands tall among an extremely talented group of actors, including several others who have also been underrated and never received their due by the <more>
Hollywood establishment, especially Bob Cummings and Ann Sheridan. There's also Judith Anderson of "Rebecca" fame; Claude Rains who first made a name for himself in a part were he was invisible through most of the film; Charles Coburn, the grand old man of 40's cinema, playing against type in "Kings Row" as not such a grand old man; Maria Ouspenskaya in a non-horror role; and Betty Field shines as the tortured soul, Cassie.Sam Wood's magnificent direction plus the acting keep the story from slipping into soap opera melodrama. True heart-rending sentiment rather than sappy sentimentality emerges from the social and economic conflicts that mix with human kindness and cruelty in small-town America at the turn of the last century. Though there is an element of nostalgia for a vanishing America, it never becomes petty or commonplace.
I've only recently seen this film in its entirety after decades of watching the clip of Ronnie Reagan's best scene in it and am totally surprised by how fine this film really is; in fact, when it ended, I found myself wanting to burst into applause. But to appreciate it you must put yourself into the time it was made, mid- to late 1941. This picture was meant to be an "A" picture that is, the first picture to be shown on a double bill, or the only film being shown showcasing the up and coming generation of Warners actors. None of the young players was particularly <more>
well-known, except in supporting roles. The older players were all familiar to film, theater and radio audiences. Radio, since radio drama was a major national venue then and all of these older players, in fact, most major stars, had starring roles in radio plays.This picture would have been shown in its first run in the chain of theaters owned by Warners, mostly large ones, and shown in a large house, holding an audience of a thousand people or more, with a very large screen yards wide and high and a sound system that was louder and definitely more "high fidelity" than any member of the audience had at home or had heard anywhere else. The book on which the film was based had been a scandalous best seller two years before and many if not most had read it people read books then! and in fact many in the audience were probably alive when this film takes place, in the last decade of the 19th century and the first decade of the 20th. Everyone would have been familiar with the style of dialogue and acting, which seems stilted to us, since it originated on the stage, with no microphones; the costumes, customs and speech would have been in living memory for many watching it in its first run, if not theirs, then their parents'.As for Korngold's superb score, this too was a familiar part of a theatrical experience at the time. Most stage plays had live incidental music accompanying them. All major Broadway plays did. Opera, operetta and vaudeville were all part of the audience's experience, all with live music as part of the experience, and no one would have found Korngold's score obtrusive, just part of the show and gorgeous to hear. In fact, Korngold's score for "Robin Hood" in 1938 was premiered live on network radio as a major event, before the picture opened! As for black and white, these films were truly in "black and white" on the big screen. Blacks WERE black and whites were silvery white. We see then on video screens, and so far, even with the best of those, these films look to be in "gray and grayer", with not the high contrast they had in the theater. So we dismiss them as flat and lifeless; in the theater, black and white has quite a lot of depth and sparkle.So in its proper context, this film is really quite astonishingly good. The production design is by the same man who designed the look of "Gone With the Wind", so there are the gorgeously composed shots, the depth of field, use of light and shadow and attention to detail in that film. Even the landscapes, matte paintings that so many of them are, most have looked quite beautiful projected large. The acting is all first rate. All the actors, in their late twenties and early thirties, are playing younger than their ages. Cummings has the right wide eyed innocence of an only child reared in relative isolation by his grandmother, Sheridan is beautiful and true, Reagan lively and cocky, and Field, the disturbed adolescent. Reagan is the real surprise here; totally unaffected, he acts effortlessly here on film, building a character, listening to the actors in the scene and reacting in the moment. And his best scenes, "THAT" one, and the final scene, are excellent.And when it ends, with a flourish those audiences would have found entirely familiar and even comforting, I can imagine an audience of a thousand bursting into prolonged applause.
Excellent story, but maybe wrong casting. (by dougandwin)
Having first read Henry Bellaman's "Kings Row" before seeing the movie was maybe a mistake, for the characters in my mind were not matched by the casting of certain stars. Certainly, I felt Ann Sheridan was a good choice, and it was perhaps her best acting in her career, but both Ronald Reagan and Robert Cummings were too lightweight for the imporant roles they had. Aware that studios were protective of their stars in the Forties, Warners surely had two stars who could have handled the drama better. The supporting cast of Claude Rains, Charles Coburn, Judith Anderson and Nancy <more>
Coleman were very good, but Betty Fields' Cassie fell a little short. Geraldine Fitzgerald would have been superb. All in all, though an excellent film, with the mood captured extremely well. I would hate to think if a remake was done today, just how it would be depicted!
Themes of Incest, Insanity, Homosexuality, Censorship and Reagan (by jayraskin1)
This movie shocked me. I have been studying film noir for a while, and they all touch upon madness to one degree or another. However, hardly any film noir of the 1940's and 1950's reached this far down into madness. I think until David Lynch's 1986's "Blue Velvet" there really wasn't such a nightmarish vision of small town America in mainstream film.Unlike many of the reviewers here, I thought Robert Cummings performance was terrific. He was able to suggest a homosexual relationship between himself and Drake Ronald Reagan without making it too explicit and he <more>
also shows a genuine deep love for his childhood girlfriend Cassie. Cummings shows intelligence and passion and real anguish when gets hit with a sudden tragedy.Betty Fields as Cassie was amazing. She captured insanity about as well as any actress I have ever seen. Her abrupt exit from the story is as disconcerting as Janet Leigh's abrupt exit from "Psycho".The biggest disappointment was Ronald Reagan. His character of Drake is an idiot and Reagan can certainly be credited with playing him as an idiot very well. He is totally bland and forgettable through the first half of the movie.He has a catastrophic accident that makes him a cripple and his reaction is bizarre. It is hard to believe that anyone would say "Where's the rest of me?" under such circumstances. He says the line almost as if saying, "where's my underwear?" or "where's my socks." Reagan's character doesn't really change after his catastrophic accident, he does go from being cheerful to depressed for a while, but his depression seems as much related to his losing his wealth, and his homosexual lover Parrish leaving him, as to his becoming handicapped. When he regains his wealth through a real estate scheme, he more or less regains his cheerful demeanor.We're supposed to like Reagan because although he is wealthy, he is even willing to marry Randy Ann Sheridan , a girl from a working class family. He does not believe in class distinctions. He even shows respect for the girl's parents. He's a rich young romantic and when he loses his wealth and becomes handicapped, we do feel sorry for him, as we would for anybody in those circumstances. Yet his range of emotions remains limited and rich or broke, athletic or crippled, he remains a simpleton.Ann Sheridan is charming playing the faithful Randy, although one never believes she really loves Reagan or would marry him after his accident. She's not really given much chance to show or explain her love.. Its not a showy part for her. Betty Fields and Nancy Coleman as girls driven insane by their doctor fathers really had the meatier roles in this one.This film is the flip side of "Our Town" and shows the demented inner side of an American Town. I like to think that Grover's Corners was more like life for most Americans in the late 1800's and early 1900's than Kings Row. If it had not been for the extreme Catholic/religious censorship in Hollywood, we probably would have seen more Kings Row type towns. The mean townsfolk of Cape Briton, Nova Scotia we see in "Johnny Belinda" are sweethearts compared to the townspeople of Kings Row.There was a ban on showing Ronald Reagan films during the presidential campaigns that Reagan participated in. This was lucky for Reagan, I'm sure if this film had been shown anybody who watched it would have voted against him.
KINGS ROW is a very good but uneven movie. However, the overall film is well worth seeing despite its shortcomings.The film is set in the fictional town of KINGS ROW towards the end of the 19th century. It begins with several children and shows their adolescent dreams and friendships. Soon, the story jumps ahead a decade and you see them as young adults--noticing how they have changed for the better or worse.Parris Mitchell Bob Cummings is the star of the film--especially the first half. He has grown up with a reasonably wealthy family and has a dream of going to Vienna to study with the <more>
greatest doctors in the world. However, he needs to work with a local doctor, Dr. Tower Claude Rains to study to have any hope of passing the entrance exams. At the same time, he's infatuated with Tower's daughter, Cassandra Betty Field --though they've seen little of each other since they were young. This is because, oddly, Dr. Tower took Cassandra out of school at about age 10 and has kept her as a recluse of sorts in their home. Later, Parris and Cassandra begin seeing each other secretly--with hopes of marrying.Drake McHugh Ronald Reagan is a brash young man with a trust fund. He's Parris' best friend and he seems to live only to have a good time. He's not particularly serious but also a generally likable fellow. However, he's fallen for Dr. Gordon's daughter--and Gordon Charles Coburn absolutely refuses to allow his daughter to see him. As for Gordon, he's a a sanctimonious and judgmental old man who seems to have little regard for his patients--particularly the ones he finds morally "objectionable". With these despised patients, he often refuses to use anesthesia when operating--a way to pay them back for their wickedness! Later in the film, Doc Gordon has a chance to treat the hated Drake.Only around the middle of the film do we get to see Randy Monaghan Ann Sheridan , though oddly she gets top billing. While Ann Sheridan did great in the film and you couldn't help but admire her performance, she was not the star of the movie. Instead, she and Drake begin dating and after Drake suffers a horrible accident, she is his strength and support.The movie is a very long and involved soap opera. I heard it once described as being a lot like PEYTON PLACE, though KINGS ROW seems to have less of an emphasis on sex at least in the movie . Oddly, the first half of the movie or so is almost like a separate film. It's good, but the second half is much more exciting and emotionally charged. The first half is mostly devoted to Parris and his relationship with the Towers. The second half is more devoted to Drake, though Parris is still an important part of the film. There are many interesting plot elements I have not mentioned because getting into the plot with any more depth would spoil the film.As for performances, although the focus was mostly on Bob Cummings, his role was relatively unexciting to watch. He was a very good man and you liked him, but his emotional range didn't need to be great. However, despite receiving third billing, Ronald Reagan really stood out in the film--even more than Sheridan's fine performance. Although initially a rather dull character, later in the film his life underwent many tragedies and Reagan displayed a very believable emotional range--much greater than you'd see in his other films. Frankly, here he is great--whereas in most of his other films he's wooden and less than appealing. It's interesting to see that when given excellent material and direction, he was a fine actor.At the beginning of the review, I said that this was a good but uneven film. Part of this I have already alluded to--how it's like two separate films and the first one is far less compelling than the second. However, the real serious unevenness is because sometimes the director handled dramatic moments beautifully--such as the scene with Reagan in bed after his accident. This and many other moments were done with such deftness and grace that they really pull you into the film. I know I was nearly ready for a box of Kleenex at these moments! Sadly, though, there were some moments here and there that were just sappy as well. In particular, the very end was just terrible. As Reagan has his big dramatic breakthrough, you hear swells of almost angelic music and this huge burden disappears INSTANTLY!! This scene was done in about one minute--and should have been done in at least five to ten. The entire ending was rushed and sloppy. Perhaps since the movie had already gone on for over two hours they felt a need to do this. I would have been much happier had they either trimmed some off other parts of the film instead or just lengthened the film more. It was upsetting to invest this much time in the movie and just have a cheap and manipulative ending.Overall, despite my many complaints about the unevenness, the great moments are so many and the film is such a wonderful showcase for Reagan and Sheridan that I strongly recommend it. My teenage daughter usually doesn't love these sort of films but she watched it with me. In the beginning, she was a bit critical but towards the end, I could see her interest increase tremendously. She also said the movie was good but uneven--that's a chip off the old block!