Meu Filho é Meu Rival

No need to repeat the plot. Fortunately Arnold delivers a rousing performance. His big personality as the lumber tycoon helps distract from certain paunchy shortcomings as a screen lover. Seeing him in passion clinches with a nubile young Farmer takes some getting used to. Happily, Farmer also shines, especially in the saloon girl part, before giving way to a more routine turn as the daughter.

According to film historian David Thomson, Farmer's performance was affected by Hawks' replacement by Wyler as director. Apparently, she and Hawks were more than sympatico off the set. So, Thomson's account goes, Hawks brought on writer Furthman to slant the film towards his beauteous blonde, thus causing novelist Ferber to complain to head honcho Goldwyn, resulting in Hawks' departure and a feud between Farmer and Wyler. I mention these behind-the-scenes shenanigans to maybe account for some of the plot's half-digested elements and Farmer's noticeable downturn.

Nonetheless, it's still a compelling movie, thanks mainly to Arnold's dominating presence that holds the various threads together. I also like the logging footage, which lends a dramatically realistic air to Glasgow's empire. Then there's Lotta's haunting rendition of "Aura Lee", which evidently Farmer herself crooned. However, I'm still trying to figure out the title that appears to have little resemblance to the storyline. But however you cut that or the purported intrigues, it's still a dynamic movie.