Come And Get It


(out of 5)

Edna Ferber’s themes of anti-materialism are once again brought to the screen with enjoyable results. Though not as grand an epic as Giant would be twenty years later, Come And Get It also offers a tale of clashing personalities against a scenic backdrop.   is magnificent as an ambitious logger in 19th-century Wyoming who dumps his beautiful saloon singer girlfriend () to marry the dowdy daughter of a wealthy industrialist. Years later, he’s the richest man in the west, running a successful lumber industry and tending to the needs of his now grown son () and daughter (a marvelous ). When he runs into an old logging friend (perennial movie coot ), he discovers that Brennan married his old flame after Arnold left and they had a daughter. She is now a grown woman and the spitting image of her mother (she is also played by Farmer). Arnold is so taken with the resemblance that he begins to court the young woman, much to the embarrassment of his family and the ire of his son who has fallen in love with her as well. The comeuppance that our protagonist is given in the end is a socialist dream come true, but even up until that point it’s a fine, well-acted and beautifully photographed drama. Farmer is astoundingly good, an obviously dedicated actress (look how vulgar she’s willing to make the mother character look without caring about appealing to Hollywood versions of womanhood, and look how incredibly different the daughter character is) who was sadly out of sync with the studio system and it led to her demise.

USA, 1936

Directed by ,

Screenplay by , , based on the novel by 

Cinematography by

Produced by

Music by

Production Design by

Costume Design by

Film Editing by

Cast Tags:  , ,, , , , , , , ,

Academy Award
Best Actor in a Supporting Role (Walter Brennan as “Swan Bostrom”)

Best Film Editing (Edward Curtiss)



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