East of the River

East Of The River is your typical Warner Brothers urban drama which that studio had down as a formula. Though the plot might not be recognizable at first, it's taken from The Charge Of The Light Brigade where Olivia DeHavilland switches her affections from Errol Flynn to younger brother Patric Knowles. More than any other major studio, Warner Brothers was big on recycling stories if they worked.

The two brothers are John Garfield and William Lundigan. As no one would believe these two are blood kin, there is a prologue where the orphan who grows up to be Lundigan is placed in the care of Marjorie Rambeau the Italian immigrant mother and she raises him as her own. Lundigan turns out to be a real straight arrow, college degree and all. Garfield however continues in his hoodlum from childhood and he's just getting out of prison on the West Coast when he goes east to see Lundigan graduate from college and he takes his moll Brenda Marshall with him.

Garfield also has a score to settle with Douglas Fowley and Jack LaRue who framed him into the joint though the film ain't real clear on how they did it. The fact he's losing Marshall to Lundigan cramps his style though.

Of course it all works out in the end and East Of The River doesn't exactly break any new ground. James Cagney passed on this one, he'd done it all before and Garfield was only in his third year at Warner Brothers.

Both Marjorie Rambeau and George Tobias played all kinds of ethnic characters in their careers and they do well in their silver screen Italian parts. Marshall does well also as the girl reaching for something a lot better than Garfield can give her.

John Garfield's most devoted fans won't rate East Of The River as one of his top performances, but the film does showcase Garfield at his urban best.

In this hammy melodrama from Warner Brothers and director Alfred E. Green, Italian immigrant "Mama" Teresa Lorenzo (Marjorie Rambeau) struggles to raise her son Joe on her own. Despite the hardship, she even agrees to adopt Joe's orphaned, homeless friend Nick. As the boys grow into men, Nick (William Lundigan) stays on the straight and narrow, graduating from college. Meanwhile, Joe (John Garfield) has fallen into a life of crime, which he keeps secret from Mama. When Joe returns home with new girlfriend Laurie (Brenda Marshall), the stage is set for conflict as Nick falls for the gal, too.

This is yet another substandard film that Garfield had to endure, and this one is further hampered by some bad acting and a cliche script. Rambeau is just terrible as the stereotypical "Mama", sporting one of the most exaggerated phony accents ever committed to celluloid. George Tobias, too,lays it on thick, but one expects that of his generally boisterous performances. Marshall makes for a bland leading lady, and I had a hard time figuring out why both guys went crazy over her.

A disappointing screenplay hurt my full enjoyment of seeing John Garfield, one of my favorite actors. He behaves badly most of the time, so I found it hard to accept his rather sudden transformation into a self-sacrificing angel because his mother (Marjorie Rambeau) lectures him. He hadn't listened to her before, so why did he start? Similarly, Brenda Marshall, who we hear at the start was forging signatures on checks, is also transformed after she gets the taste of family life with Rambeau and falls in love with Garfield's adopted brother, William Lundigan. These plot elements didn't ring true. But worse, the final behavior of the revenge-seeking gangsters, led by Douglas Fowley, was too stupid to be believed, although it did create some suspense.

The acting wasn't too bad. I got used to the thick (but understandable) Italian accents of both Rambeau and George Tobias, both of whom were very good. So is the child actor, Joe Conti, who plays Garfield as a boy. The rest of the cast did what they could with the material, but the film must have been very heavily edited. As one who is interested in credits, I noticed that Charley Foy never appeared, and both Robert Homans and Jimmy O'Gatty are barely seen and have non-speaking roles. All three get onscreen credit, while other actors with large speaking parts are uncredited. The three must have had good agents.

It is 1927 New York City. Joey Lorenzo is a kid who gets into trouble. He and his friend Nick batter a railroad worker. The cops track them down. The Judge is ready to send them both to reform school. Joey's mom convinces the Judge to give them a second chance and she agrees to take on the orphan Nick. Nick grows up to be a great student and the perfect son. On the other hand, Joe Lorenzo (John Garfield) grows up to be a bad student and a criminal although his mother doesn't know that part. He comes home with his criminal girlfriend Laurie Romayne.

This idea of a triangle upon a triangle is interesting. It's the two boys and their mother in one. The other one is the boys with the girl. I never really felt for Nick or quite frankly Laurie although her progression is more interesting. Big momma is doing big momma things and she dominates. As for Garfield, he does fine as the urban hood. I believe it sometimes. I'm not sure about the ending, but that's kind of a Hollywood safe ending. All in all, I like some parts and less with other parts.

Two boys behave badly and are to be sentenced. The Italian mama of one implores the judge to let her take care of her son and he hesitantly agrees. The other one, though, is off to reform school. He has no parents. So mama says she will adopt him; and William Lundigan and John Garfield are raised as if they were brothers, above a restaurant in Little Italy.

This movie begins stylishly, with a tour guide telling about New York. Not too different from what they say 80-some years later than the action is meant to take place. Orchard Street used to be an orchard and yes, Canal Street was once a canal.

And the action is standard Warner Brothrs crime drama issue. Not at all bad. Brenda Marshall, furthermore, is very appealing as a moll who decides to walk the straight and narrow. She was a beautiful woman in a somewhat unusual way and, though not a great actress based on her performances, she could have been coached into one had she been so inclined.

The problem is the casting. OK, John Garfield was not Italian. Neither was Edward G. Robinson, but they both played Italians at times. However, what really shocked me is the direction of the mother character, and her man friend as well, to use thoroughly implausible "he's-a my good- bambino"-type dialect. It's almost as if major characters were in blackface.

I didn't notice who the secondary players in the cast at the beginning and was horrified to see that the marvelous character actress Marjorie Rambeau ("Primrose Path," "Scandal Sheet," among many superb performances) was playing this role.

It was in keeping with the times to a degree but it comes across as offensive today. .