San Francisco

You can't go wrong with the pairing of two of the great stars of Hollywood, Gable and Tracy......and the great star of the west coast, San Francisco. The role of Blackie Norton may be one of Gable's best, so cynical,so devil-may-care and just a little bit dangerous. Tracy play the understanding priest with his usual aplomb. As he told someone once "Don't ever let them catch you acting".

Gable's attraction to Jeanette McDonald is a little bit unbelievable. She really did belong with Jack Holt in this film......or better yet Nelson Eddy should have showed up at the last minute and swept her away with a song. Gable and McDonald don't mesh at all and there was not much chemistry between them although I must admit she is lovely. Be that as it may, the film is one of the best of Hollywood's mid-30's offerings. There is something for everyone; music, drama, comedy and the finale of the earthquake which is what we are waiting for. And what a spectacle it is!! It is very well done in those days before sophisticated special effects; with tumbling buildings, crashing walls and the inevitable fire. There are a couple of poignant scenes when the firefighters must blow up buildings and homes to control the fire thus destroying lifetimes of work and memories.

The ending is a little bit over the top as those who have lost their families and all that they own, joyously sing the Battle Hymn of the Republic and march up the hill to view the destruction (I'm not sure I would be that upbeat)......but it is still effective. The fade to the modern day (1936) San Francisco is just the right ending note. I highly recommend this film, not only for the Gable/Tracy pairing but also for the general excellence of the production.

San Francisco, like so many other films from this era, just reminds me again how movies today have lost the art of the build-up. They just hit you over the head with mind-numbing action from frame one. Hollywood(and audiences of today) would do well to watch classics like "San Francisco", where story takes precedence over special effects and when the effects do come, they are in service to the story. And they mean so much more and have so much more impact when held back until the last possible moment. Why can't we allow ourselves to be immersed in the story? Or are we just too impatient for it now?

This is a great old film. I have seen it several times, and enjoy it every time. I think Jeanette MacDonald is beautiful, and what a voice! I love to hear her sing.

My mother gave me my middle name of Jeanette after her. It is interesting that a film with so much "fancy" singing

could have been so popular. The general public must have had more class then than now.

It is good to see the "oldies." Many of them are better than today's films.

I certainly like this one.

John Hoffman (my father) was responsible for the Great Earthquake scene and a number the other montage sequences in the film. A friend of his, the film preservationist David Shepard, tells me the film had already been shot, but the studio execs weren't happy with it. So, they handed it over to the then head of MGM's Montage Department, John Hoffman, to see if he could salvage it. Hoffman rewrote, directed and edited many of the scenes. The result: five Oscar nominations (including 'Best Picture') and one win ('Best Sound') – released in 1936, it preceded the introduction of the Oscar for Special Effects award by a few years.

A few years ago, when the Academy Awards Ceremony featured a review of the greatest disaster films ever made, I was disappointed to note that San Francisco hadn't been included. Still, from reading the reviews posted here, it's great to see how many people still appreciate it today.

SAN FRANCISCO is a major Hollywood production from the 1930's, From the Boldness of the opening credits, along with a rousing rendition of the tune by the same name, the viewer suspects that they are going to witness a special movie event.

The plot is a rather forthright formula story of a tug-of-war romance between bad boy Clark Gable (Blackie Nortion, saloon owner) and mama's boy Jack Holt (Jack Burley, scion of a well-to -do family) for the affections of singer Jeanette MacDonald (Mary Blake, beautiful, virginal). It's also a story of good vs. evil, the good portrayed by Spencer Tracy as a Catholic Priest.

But it's the hard-hitting script and it's crisp dialogue, the recreation of a turn-of-the-Century San Francisco, the great acting, the music, and the fabulous Earthquake sequences that make this show the classic that it is.

SAN FRANCISCO is a tale of contrasts. On one hand the Barbary Coast with it's bars and bordellos, yet on the other hand we have a city of the fine arts, opera, and the Nob Hill elite. We have the rich, the spendthrifts, and also the poor who seek shelter in the Mission Houses.

The acting of Clark Gable cannot go unmentioned. His Blackie Norton is the most mockingly amoral character, proud of his lack of religious faith..... relying only on himself. Yet as Father Mullin (Tracy) says at one point in the movie, "Do you know who gave the chapel that organ we've been dedicating tonight? The most scoffing, unbelieving, and godless soul in all San Francisco, ..Blackie Norton. Cost him over $4,000......Don't tell him I told you. Blackie's like that, ashamed of his good deeds as most men are ashamed of their bad."

The famous 1906 Earthquake is a real show-stopper. Entire sets were hoisted on hydraulic lifts and rockers, and literally shaken down. VERY REALISTIC. I would have reservations about showing this picture to kids under 10 years of age. They may develop a neurotic fear of earthquakes following this one.

Enjoy and re-enjoy.