As most IMDB folks already know, this film version of Saturday's Children (SC) is derived from a Maxwell Anderson play that first appeared on Broadway in 1927. After it opened on Jan. 26th of that year, the play ran for a respectable 310 performances before closing. While another IMDB reviewer has noted that the Rimes Rosson character (performed in the film by John Garfield) was played on the stage by Humphrey Bogart, it should be pointed out that Bogart did not originate the part. That honor was given to one Roger Pryor, who sometime after the opening came down with an undisclosed illness which necessitated his being replaced by Bogart. The female lead (Bobby) was portrayed on the stage by Ruth Gordon and in this film version by Anne Shirley. Interestingly, while Bobby's family name in both the play and film is the same ("Halevy"), in the play the male lead is known as Rimes O'Neil and not Rimes Rosson as in the film. There appears to be no known explanation for this change of names, nor is there one to clarify why Bobby's family name is pronounced in the film with the accent on its first syllable. The more common way to pronounce the name "Halevy" is with the accent on the second syllable. It is possible that the film's producers were attempting to downplay the ethnic origins of that family name. We just do not know.
In any event, Bogart left the play after a few months to then assume his next role on the Broadway stage in a farce entitled "Baby Mine.". It opened on June 9, 1927 and closed unsuccessfully after just 12 performances. The play starred Roscoe "Fatty" Arbuckle, and was intended to be a comeback vehicle for Arbuckle from a well known scandal that ultimately doomed him as an actor in Hollywood.
Garfield's role in SC is not like the work he was doing at Warner Brothers at this stage of his career. He played it in a somewhat subdued and understated way that greatly enhanced both its realism and charm. Some reviewers have suggested that Garfield was miscast in this role. Others have opined that he took it on to show that he had a broader acting range than he was able to demonstrate in his previous WB films. The latter explanation seems to be the more plausible one, based upon the many examples of similar efforts made by other Hollywood actors presented with like situations. See e.g. Fred Astaire in On the Beach (1959), Gene Kelly in Inherit the Wind (1960), Lucille Ball in The Big Street (1942), Frank Sinatra in Suddenly (1954), Bob Hope in Beau James (1957) etc. Bogart's assuming an atypical (for him) romantic and comedic leading man role in Sabrina (1954) would appear to be yet another illustration of the same phenomenon. To this reviewer, Garfield was believable, likable and quite natural playing Rimes. It is possible that under the right set of circumstances, Garfield (like James Cagney and Edward G. Robinson before him) might have also developed into a reasonably successful comedic actor. Again-----unfortunately-----we will never know.
SC is a sensitive and touching film that was greatly aided by Garfield's likable and boyish performance. Special mention also must be made of Claude Rains's nuanced portrayal as Anne Shirley's warm and kindly father. The rest of the supporting cast was strong and greatly enhanced the story's Depression-era narrative.
To many filmgoers, SC is probably an unknown or forgotten movie. Because it is so endearing, SC deserves to be seen and appreciated anew by a contemporary audience.
In any event, Bogart left the play after a few months to then assume his next role on the Broadway stage in a farce entitled "Baby Mine.". It opened on June 9, 1927 and closed unsuccessfully after just 12 performances. The play starred Roscoe "Fatty" Arbuckle, and was intended to be a comeback vehicle for Arbuckle from a well known scandal that ultimately doomed him as an actor in Hollywood.
Garfield's role in SC is not like the work he was doing at Warner Brothers at this stage of his career. He played it in a somewhat subdued and understated way that greatly enhanced both its realism and charm. Some reviewers have suggested that Garfield was miscast in this role. Others have opined that he took it on to show that he had a broader acting range than he was able to demonstrate in his previous WB films. The latter explanation seems to be the more plausible one, based upon the many examples of similar efforts made by other Hollywood actors presented with like situations. See e.g. Fred Astaire in On the Beach (1959), Gene Kelly in Inherit the Wind (1960), Lucille Ball in The Big Street (1942), Frank Sinatra in Suddenly (1954), Bob Hope in Beau James (1957) etc. Bogart's assuming an atypical (for him) romantic and comedic leading man role in Sabrina (1954) would appear to be yet another illustration of the same phenomenon. To this reviewer, Garfield was believable, likable and quite natural playing Rimes. It is possible that under the right set of circumstances, Garfield (like James Cagney and Edward G. Robinson before him) might have also developed into a reasonably successful comedic actor. Again-----unfortunately-----we will never know.
SC is a sensitive and touching film that was greatly aided by Garfield's likable and boyish performance. Special mention also must be made of Claude Rains's nuanced portrayal as Anne Shirley's warm and kindly father. The rest of the supporting cast was strong and greatly enhanced the story's Depression-era narrative.
To many filmgoers, SC is probably an unknown or forgotten movie. Because it is so endearing, SC deserves to be seen and appreciated anew by a contemporary audience.