This story about a group of women who go over to France in the Great War sometimes seems a bit clunky. That's the reviewer who has seen Altman's M. A. S. H. talking. For the period, it was remarkably frank, even if there seems to be a lot of shampoo and conditioner to keep Anita Page's hair beautiful, and surgeon Charles Boyer has placed the lights to illuminate his work on the ground, pointing up to throw dramatic shadows on the wall.
That's most of what I took away from this movie: the visuals. That's not surprising. Charles Rosher is the director of Photography. Even though this is an MGM picture, and it's 1930, there is camera movement, both large moving shots, and smaller nudges to maintain composition. The performances are not up to that level; there's a certain amount of declamatory line reading, which makes Robert Montgomery's casual delivery seem odd. MGM was still learning how to make talkies.
With Zasu Pitts, June Walker, Robert Ames, Marie Prevost and Helen Jerome Eddy.
That's most of what I took away from this movie: the visuals. That's not surprising. Charles Rosher is the director of Photography. Even though this is an MGM picture, and it's 1930, there is camera movement, both large moving shots, and smaller nudges to maintain composition. The performances are not up to that level; there's a certain amount of declamatory line reading, which makes Robert Montgomery's casual delivery seem odd. MGM was still learning how to make talkies.
With Zasu Pitts, June Walker, Robert Ames, Marie Prevost and Helen Jerome Eddy.