User reviews

It's the Great War. Brian Aherne is a prisoner of war being held in Holland by the Germans -- I'm not sure how that works -- who's released on parole to stay in Holland. He runs into his old girl friend, Ann Harding. She's married to Paul Lukas, who's off fighting in the war, and she offers him a haven. Soon their feelings are rekindled, and they plan to run away. In comes Lukas, who's lost an arm, so Miss Harding writes a note to Aherne that she'll be staying, because Lukas needs her. She's sure Aherne will understand and approve.

As if. Lukas plays one of his thoughtful, kindly roles; he knows what's what, and makes friends with Aherne, while Miss Harding's cousin, Violet Kemble Cooper, stirs the pot after the War is over.

It's another of those Ann Harding movies in which she suffers nobly, because that's what the executives at RKO thought she excelled in. I think it's nonsense, akin to Major General Stanley shouting "Yes, but you don't go!" Nonetheless, it's another fine performance for Miss Harding; she comes alive in quiet conversation with Aherne, and for a few moments become more than the obscure object of desire. There's also a wonderful turn by Jean Hersholt as her uncle when he defends his niece's honor against the malicious gossips.

It's not enough to make me want to look at this again.

This is slow-moving; after the first twenty minutes it has really no action to speak of, It is totally dialogue and psychological and philosophical to the end. It is also a very sad movie. Still it ends on a positive note, and as a whole is positive, and somewhat dreary at the same time.. Everyone's performances are laudable. Come to think of it, there are even some comic parts in the first section. But once the lead arrives at the estate there is nary a chuckle. However, that is as it should be. The movie speaks of "peace of mind" and "stillness of spirit" as the aims of life. The male lead's performance is extremely sensitive and gentle and his face and manner perfectly express that. The husband is totally mellowed-out and peaceful after the injury he has suffered in the war. It is halfway through the film, when he comes home, that the story gets into the conflict. The whole movie is low-key and very thoughtful. As an aside, the female lead's piano playing and the exact pieces she is playing are wonderful--and quite unlike overly dramatic piano playing you often hear in other movies. The way she handles the part of her character seems just right too.

This movie thinks it is high class, but it is only hifalutin. It is full to bursting with repressed passions, noble sacrifices, tender glances, and dialogue that practically screams what it is obviously not saying. It is very much a movie for ladylike types (lots of reading and embroidery goes on, lots of violins play), the kind that makes you want to do some screaming of your own and shove a foot through that embroidery. In other words, bloodlessness posing as dignity and good taste.

The players are all attractive and Paul Lukas is a fine actor as well, but this is a film to let wash over you as you drink your tea rather than to watch with any attention.

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."

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.

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.