Ms Garson was one of the most accomplished actress of the time. If that object of love was Ronald Colman, one of the most talented leading men of the era, it was well worth the price of admission. This actress, with her unusual beauty, made us believe she is that woman whose love for her man is everything. To have Greer Garson play the role of Paula/Margaret, was a stroke of genius. But that's the magic of the film, we put up with every twist and turn because we figure these two will find one another in the end. The biggest challenge to logic is the reemergence of Paula as Ms Hansen, Charles Rainier's secretary. There are things in the film that wouldn't make any sense in our high tech world, but the charm of the many twists and turns make for a charming voyage, as we get lost into this tale of love given so honestly by Paula to the amnesiac Smithy. Nothing like this film will be done in the near future because of today's tastes dictates the big, if mindless, spectacles full of special effects, favored by today's movie makers. The film is a tribute to a form of entertainment that alas, has just but disappeared from the present Hollywood. Mervyn LeRoy must be given credit for bringing it to the screen in a movie that has all the ingredients to keep the viewer glued to his seat. His novels have ended up as films that made great impact, as is the case with this film. Sims), Reginald Owen (‘Biffer’), Bramwell Fletcher (Harrison), Rhys Williams (Sam), Una O’Connor (Tobacconist) and Aubrey Mather (Sheldon).James Hilton's contribution to the movies was enormous. Jonathan Benet), Susan Peters (Kitty), Henry Travers (Dr. Starring Ronald Colman (Charles Rainier), Greer Garson (Paula), Philip Dorn (Dr. Kress music by Herbert Stothart produced by Sidney Franklin released by Metro-Goldwyn-Mayer. He’s still likable and Garson’s great so Harvest works.ĭirected by Mervyn LeRoy screenplay by Claudine West, George Froeschel and Arthur Wimperis, based on the novel by James Hilton director of photography, Joseph Ruttenberg edited by Harold F. With his memory back, Colman loses a character and gets a backstory. Peters inexplicably disappears from the film too, along with the entire supporting cast. She causes Garson–who comes back in a contrived, but inventive plot twist (and Garson excels in the second half of the film)–some consternation. Peters is actually rather good, but her role doesn’t really affect the narrative. Random Harvest moves through phases, some small as the focus switches between Colman and Garson, but also bigger ones, like when Colman’s memory returns and seven years pass in less minutes and he’s all of a sudden romancing Susan Peters. Colman’s good as the amnesiac and Garson’s rather likable in her role–her dedication is convenient (none of the three screenwriters–Claudine West, George Froeschel, Arthur Wimperis–manage any subtlety), but Garson manages to sell it as much as possible.īut then Colman’s memory comes back and it turns out he’s the utter bore, not the film. He’s an amnesiac World War I veteran, she’s on the stage–a combination of song and comedy–and she’s his savior. Almost the entire first hour (of two and a nickel), the film chronicles the blissful romance of Greer Garson and Ronald Colman. It’s hard to imagine a more supreme melodrama than Random Harvest.
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