White Banners

WHITE BANNERS has a couple of very odd but satisfying plots running through the film. The first involves Fay Bainter who plays a woman who just moves in with a family and becomes the perfect housekeeper--in many ways a lot like an earlier incarnation of Mary Poppins! However, her hidden agenda and why she works for mere "peanuts" is interesting and unfolds throughout the film. The "why" exactly isn't all that hard to predict--there are lots of pretty obvious clues thrown out to the audience. The second plot, and this IS an odd one, is about Rains and Cooper working together to try to create the first home electric refrigerator and sell the idea. While this may sound dull, I actually liked this--it reminded me a lot of movies like YOUNG TOM EDISON.

This is not exactly a perfect movie, but I enjoyed it and appreciate how the studio at least tried something different. Plus, some of the performances were very good. Claude Rains was his usual wonderful self, but I also appreciate the teen parts played by Jackie Cooper and Bonita Granville--Bonita was bouncy like a teen and it was nice to see Jackie doing a more mature role than what he'd been previously doing for MGM when he was a bit younger. Also, Fay Bainter was generally excellent, but there were a few times when her character seemed a bit "sappy" and too good to be true. The bottom line is that this is an excellent movie and a good one for old movie buffs who want a change of pace.

Today on Turner Classic Movies I watched a tribute to Jackie Cooper on his birthday. After seeing Jackie play children who always had some kind of drama going on in his characters lives and crying all the time, it was nice to see him as a nice young man who grew from being immature and selfish to mature, unselfish, and grateful.

In many of Jackie Cooper's films he played characters who were much younger than his actual age (ex: O'Shaunessy's Boy (1935), in real life he was about 12 or 13, but in the film, he is playing someone who is about 10 or 11, same in Dinky and in Tough Guy (1936), he was really 13 or 14, but in the film he is probably between the ages of 9-11). So, in White Banners it was nice seeing him someone his own age and he gave a touching and challenging performance. I also must commend Fay Bainter (1938 Academy Award nominee Best Actress (Banners) and supporting actress (Jezebel)), for she gave an excellent performance as a mother who sacrifices the best for her child. Also the rest of the cast was great. An excellent film!

I saw a preview of this movie on TCM and was very interested, so I made a point to watch it. I am so glad I did!

I can't remember ever seeing Claude Raines in a such a light-hearted, at times comedic, role; he is delightful! At first I thought I had stumbled upon a "Mary Poppins" type of movie, especially when Hannah--perfectly portrayed by Fay Bainter, who is not remembered in present day as much as she deserves--begins to pull things out of her bag; but as the story moved on I recognized it as so much more. The supporting cast, as was so often the case in the days of the studio-controlled movies (like it or not) is also excellent, especially Jackie Cooper and Bonita Granville.

A wonderful film, a tale of hope and the results of perseverance.

An excellent version of the popular Lloyd Douglas novel which had its world premiere in Douglas' home town of Columbia City, Indiana in 1938 The picture is one of the most heartwarming of the era and is very deftly directed and acted.There are plenty of opportunities for the picture to become mawkish, but it never does. It stars Fay Bainter in a role that would garner her an Academy Award nomination for best actress (she won best supporting that year for JEZEBEL). Claude Rains, her costar, is as impressive as ever and the other members of the cast are all top-flight. It was especially good to see Kay Johnson again. Jackie Cooper and Bonita Granville were very winning teenagers. And last, let us not omit Max Steiner's rich score.

I was very happy to discover White Banners for the first time yesterday evening on TCM. Several reviewers here said it was "dated." Some said "dull" or slow-paced. Too bad! I thought it was first rate and not only because of it's superb cast. I would in fact call it "classic"–––with a message of timeless significance.

It shows very sadly how much ground we've lost as a society that the character of Hannah Parmalee masterfully played with quiet, subtle restraint by Fay Bainter is regarded by some modern observers as priggish, preachy, sappy and too good to be true. That's how cynical we've become in the face of nobility these days. Unselfishness and refined sensibilities are regarded as "sappy."

The story is intensely Christian in tone, because it centers on the tremendous strength and power one gains from considering the needs and feelings of others before one's own. What we are supposed to glean from the story is the idea that by not fighting for our rights and not demanding justice for ourselves we can win a reward much greater than the one we originally sought. Doing the right thing and not taking the paths of least resistance transcends grief, gives added strength and often leads to greater heights than one ever dreamed of reaching.

There is a sweetness and yes a naiveté in this story that is frankly refreshing. The lush romantic musical score written by the same composer who did Gone With The WInd provides a beautiful, perfectly realized, expressive accompaniment to every scene. Music of this high quality gives added dignity and significance to the film elevating it almost to the status of art.

In this noisy age of unbridled vulgarity, cheap sensationalism, excessive noise, and dissolute, despairing characters acting brutal, selfish, inconsiderate, exploitative and callous towards one another the QUIETUDE and profound depth of feeling in this movie is balm for the soul.