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.
19 Reviews
It deserves Kudos for trying to be different
planktonrules24 December 2006
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.
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.
Great film!
sidneybruhl4 June 2005
Just happened to wake up very early this morning and stumbled upon "White Banners" on Turner Classic Movies. What a nice little film. Fay Bainter, normally known for her outstanding support of many a fine lead actor, is given a chance to shine in a more substantial and pivotal role. Claude Rains turns in his usual fine performance and there is fine work from young actors Bonita Granville and Jackie Cooper. In lesser hands this film could easily lapse into a puddle of maudlin sap, but these fine performers truly elevate this moving and interesting story. The film is based on a Lloyd C. Douglas short story. Douglas was also the author of "Magnificient Obsession" and "The Robe. Would love to see this one on DVD someday. Until then, I'll be watching TCM's schedule for it. A film not to be missed!
Worth every minute.
jerryw-18 February 2005
I caught this gem early one morning, after waking up early unable to fall back asleep. How fortunate, White Banners is a movie I had never heard or knew about. I really did not expect much. Was I surprised how quickly I was drawn into this wonderful light drama. Wonderfully written and directed. The casting superb in all choices and Fay Bainter was simply magnificent and unforgettable. Truly a most memorable and haunting performance. Claude Rains, always great, gives a spunky and marvelously slightly eccentric touch to his masterful performance. Cooper and Granville are great together. Kay Johnson (Madam Satan) what a surprise! Very nice subdued performance. I was really glad to have discovered this forgotten classic. As wonderful as A Wonderful Life. I highly recommend making time to catch this, it's worth every minute of it's 92 minutes; wish it was longer.
A banner year for Fay Bainter...two nominations...
Doylenf7 December 2006
It's nice to see FAY BAINTER in a starring role opposite CLAUDE RAINS. Bainter has the sort of role you might expect BARBARA STANWYCK to do in one of her "Stella Dallas" moods about a mother whose love for her son has to be from afar until she comes to live in a household where she's able to be a part of his life again.
And thanks to a good script, there's no settling for a happy ending. Having satisfied herself that he's on the right path, she leaves him thinking that his adopted mother was his real mom and she walks off into the wintry landscape just as she drifted into the household at the beginning.
It's a warm story, full of Lloyd C. Douglas touches (he wrote the original Cosmopolitan magazine story) and it's nicely played by a cast that includes JACKIE COOPER (the boy inventor with the likable personality), BONITA GRANVILLE (his love interest in a puppy love sort of way), and JAMES STEPHENSON as Cooper's father who has a reunion with the son given up for adoption years ago, but keeps the secret from him.
Of course the flaws are there, as they are in any story of this kind penned by Mr. Douglas. The sentiment is poured on pretty thick at times, the speeches seem like pearls of wisdom coming from characters who always know exactly what to say in any sort of predicament, and Bainter's character, in particular, is a bit too noble and self-sacrificing to be really believable.
But she gives the role her personal warmth, dignity and intelligence in this story of a struggling inventor (Raines) who gets a lot of his inspiration from a woman with a penchant for helping others.
Summing up: A little known film, dated now, but still has some interesting things to say. The 1909 era is nicely evoked and the patent process for new inventions is something rarely dealt with in stories of this kind.
Trivia note: FAY BAINTER had two Best Actress nominations in 1938: one for JEZEBEL (she won Best Supporting Actress) and the other for Best Actress in WHITE BANNERS.
And thanks to a good script, there's no settling for a happy ending. Having satisfied herself that he's on the right path, she leaves him thinking that his adopted mother was his real mom and she walks off into the wintry landscape just as she drifted into the household at the beginning.
It's a warm story, full of Lloyd C. Douglas touches (he wrote the original Cosmopolitan magazine story) and it's nicely played by a cast that includes JACKIE COOPER (the boy inventor with the likable personality), BONITA GRANVILLE (his love interest in a puppy love sort of way), and JAMES STEPHENSON as Cooper's father who has a reunion with the son given up for adoption years ago, but keeps the secret from him.
Of course the flaws are there, as they are in any story of this kind penned by Mr. Douglas. The sentiment is poured on pretty thick at times, the speeches seem like pearls of wisdom coming from characters who always know exactly what to say in any sort of predicament, and Bainter's character, in particular, is a bit too noble and self-sacrificing to be really believable.
But she gives the role her personal warmth, dignity and intelligence in this story of a struggling inventor (Raines) who gets a lot of his inspiration from a woman with a penchant for helping others.
Summing up: A little known film, dated now, but still has some interesting things to say. The 1909 era is nicely evoked and the patent process for new inventions is something rarely dealt with in stories of this kind.
Trivia note: FAY BAINTER had two Best Actress nominations in 1938: one for JEZEBEL (she won Best Supporting Actress) and the other for Best Actress in WHITE BANNERS.
Beautiful Film!
filmloverlady7 January 2007
I recently had the opportunity to see this beautiful film and only wish someone would recognize these classic films and remaster them for DVD release. I have read things about this film but until getting TCM I had never seen it and what a treat! Fay Bainter was wonderful and of course Claude Rains, what more could you ask for! I am sure by todays standards this would be considered dated, but you can't get past the fact that the story is heart tugging and will make you cry! The supporting cast which includes Bonita Granville and a young teenager by the name of Jackie Cooper (remember him?) make this all the better. Don't miss the chance to see this great film-
Glossy, inane piffle that only old Hollywood could get away with
mnpollio6 February 2007
Warning: Spoilers
An old-time film in the sense that if it were presented to an audience today, it would be drummed out of the theater. That, by no means, makes it a bad film, just badly dated. This is the perfect example of old-time Hollywood schmaltz. Fay Bainter stars as an enigmatic woman who stumbles into the lives of a kindly Middle American family, led by Claude Rains, and becomes both an inspiration and help-mate. The acting is simply wonderful, with a terrific performance by Jackie Cooper also thrown into the mix, as a rambunctious teen who assists inventor/teacher Rains. The direction is glossy in the extreme and I cannot remember ever being bored with the film. Where my problem comes into the mix is courtesy of the storyline and its bizarre view on how to meet adversities that life may throw into your path. Bainter (who is amazing here and very nearly does the impossible in making this role work) is set up as a figure of female martyrdom. Her big secrets are utterly predictable and the fact that she does nothing to bring closure to them and continues onward on a path to make herself long-suffering is pointless. Even worse, she advises Rains and family that when adversity strikes...give up. Yes, the title of the film is white banners, and that is what it means. Bainter's motto is to raise the white banners the moment a conflict arises and by giving up a new door will magically open to offer another avenue. I am hard-pressed to imagine this philosophy being embraced in the 1930s (no doubt this was the studio system doing its part to enforce the misogyny of the day and ensure another generation of long-suffering female martyrs). Today, it would most definitely be greeted as the absurdity it is. And after Bainter has taught everyone this dubious philosophy, she marches off into the sunset, leaving behind her teenage child who does not have any idea who she is.
Would have thought this was a Fanny Hurst novel
gelashe23 February 2007
It starts out like the original Imitation of Life where Louise Beavers shows up at Claudette Colbert's house looking for a job, but in this case it's Fay Bainter trying to sell her apple peelers on a cold, windy, snowy day in dreary Indiana. The film is very realistic in its portrayal of the weather, making you feel cold and depressed. When the lady of the house invites her in to get warm and Hannah sees the disorder in the kitchen, she(like Louise Beavers) sees a perfect opportunity to get a job with room and board.
Offering to save the family money (she sees immediately they are struggling), they take her offer and come to love her like family. She comes up with ideas like selling their old useless furniture for cash, gives Claude Rains a spot in the basement to work in peace on his experiments (he is a professor by day and an inventor by night). She is wise and has the instinct to know when something is going to go wrong trying to save the family whatever heartache she can.
When Jackie Cooper (spoiled rich boy) takes a job as Rains assistant, it is the beginning of his life changing him into a fine young man. Only by accident does he cause Rains harm thru an error of judgment. But justice prevails, as Hannah tells Rains to turn the other cheek and go on.
Hannah stumbling upon this house at a time when they are in need of help provides her the opportunity to get what she came for. That being said - all is well at the end. When you see her walking off in the snowy storm, the same way she came in, one cannot help but feel sorry for her - hoping that she would turn around and stay, but doing so would cause her too much pain. Like some of the other poster's, I taped this out of curiosity, and wound glued for the entire film. Definitely a keeper.
Offering to save the family money (she sees immediately they are struggling), they take her offer and come to love her like family. She comes up with ideas like selling their old useless furniture for cash, gives Claude Rains a spot in the basement to work in peace on his experiments (he is a professor by day and an inventor by night). She is wise and has the instinct to know when something is going to go wrong trying to save the family whatever heartache she can.
When Jackie Cooper (spoiled rich boy) takes a job as Rains assistant, it is the beginning of his life changing him into a fine young man. Only by accident does he cause Rains harm thru an error of judgment. But justice prevails, as Hannah tells Rains to turn the other cheek and go on.
Hannah stumbling upon this house at a time when they are in need of help provides her the opportunity to get what she came for. That being said - all is well at the end. When you see her walking off in the snowy storm, the same way she came in, one cannot help but feel sorry for her - hoping that she would turn around and stay, but doing so would cause her too much pain. Like some of the other poster's, I taped this out of curiosity, and wound glued for the entire film. Definitely a keeper.
A rare leading role for Fay Bainter, the same year she won Supporting Oscar in Jezebel (1938)
jacobs-greenwood12 December 2016
Warning: Spoilers
Directed by Edmund Goulding, with a screenplay co-written by Lenore J. Coffee, Abem Finkel and Cameron Rogers, this above average drama features Fay Bainter's only Oscar nomination in the Best Actress category. Typically a Supporting Actress, Bainter won the Academy Award in that category, while losing Best Actress to her co-star Bette Davis, for Jezebel (1938).
In this film, Bainter plays a woman with a hidden past that becomes the maid and then trusted confidant of "professor" and would-be inventor (four time Supporting Actor nominee Claude Rains) and his family in a small town. Through her simple philosophy, enduring human spirit, and gentle guidance, she helps her "adoptive" family and others realize their goals until finally her secret motivation is revealed. A heart warming story that plays to the strengths Ms. Bainter's skills, making one wish the actress had played more (leading) roles in her career, ala Spring Byington.
The Wards are a family struggling to make ends meet since the birth of their second child. Marcia (Kay Johnson) is still weak, months after childbirth, and high school chemistry teacher Paul (Rains) makes barely enough to support his family, spending any excess funds on equipment for his experiments. As Paul attempts to invent something that will free them from their poverty, their teenage daughter Sally (Bonita Granville - These Three (1936)) is at that "boy crazy" age, with her current affectation being Peter Trimble (Jackie Cooper). Peter is the son of wealthy banker Sam Trimble (Henry O'Neill) who, unbeknownst to Peter, raised the boy as his own when his friend and current lawyer Thomas Bradford (James Stephenson) couldn't.
Into their lives, and out of the snow, walks Hannah Parmalee (Bainter). While Marcia is struggling to figure out how to afford food for dinner, Hannah knocks on her door trying to sell her a 25 cent apple peeler. Assessing the situation, Hannah volunteers to help the weak Mrs. Ward with her baby. She then convinces Marcia to hire her to take care of the household and handle the meal responsibilities for their current monthly food budget, from which she says she'll still manage to pay herself wages.
Seemingly too good to be true, Hannah becomes part of their family and seems to have a particular interest in young Trimble. Peter, who's the scourge of Professor Ward's chemistry class, is actually quite bright. Urged by Hannah, Paul engages Peter in his invention activities and the two of them create an ice-less icebox, a refrigerator with a mechanical compressor in the basement to cool a unit upstairs in the kitchen. Peter's dad assists them with funding. During this time, Peter and Sally become closer and begin dating.
However, tragedy befalls the Wards when Peter allows the Ellis Brothers (William Pawley, Edward Pawley and John Ridgely) to steal their idea and Sally falls through the ice, while skating with Peter, and catches pneumonia. J. Farrell MacDonald plays the doctor. Again, it is Hannah who is the glue which holds the family together. Eventually, however, her hidden secret threatens to upset the idyllic situation when her past revisits the small town.
In this film, Bainter plays a woman with a hidden past that becomes the maid and then trusted confidant of "professor" and would-be inventor (four time Supporting Actor nominee Claude Rains) and his family in a small town. Through her simple philosophy, enduring human spirit, and gentle guidance, she helps her "adoptive" family and others realize their goals until finally her secret motivation is revealed. A heart warming story that plays to the strengths Ms. Bainter's skills, making one wish the actress had played more (leading) roles in her career, ala Spring Byington.
The Wards are a family struggling to make ends meet since the birth of their second child. Marcia (Kay Johnson) is still weak, months after childbirth, and high school chemistry teacher Paul (Rains) makes barely enough to support his family, spending any excess funds on equipment for his experiments. As Paul attempts to invent something that will free them from their poverty, their teenage daughter Sally (Bonita Granville - These Three (1936)) is at that "boy crazy" age, with her current affectation being Peter Trimble (Jackie Cooper). Peter is the son of wealthy banker Sam Trimble (Henry O'Neill) who, unbeknownst to Peter, raised the boy as his own when his friend and current lawyer Thomas Bradford (James Stephenson) couldn't.
Into their lives, and out of the snow, walks Hannah Parmalee (Bainter). While Marcia is struggling to figure out how to afford food for dinner, Hannah knocks on her door trying to sell her a 25 cent apple peeler. Assessing the situation, Hannah volunteers to help the weak Mrs. Ward with her baby. She then convinces Marcia to hire her to take care of the household and handle the meal responsibilities for their current monthly food budget, from which she says she'll still manage to pay herself wages.
Seemingly too good to be true, Hannah becomes part of their family and seems to have a particular interest in young Trimble. Peter, who's the scourge of Professor Ward's chemistry class, is actually quite bright. Urged by Hannah, Paul engages Peter in his invention activities and the two of them create an ice-less icebox, a refrigerator with a mechanical compressor in the basement to cool a unit upstairs in the kitchen. Peter's dad assists them with funding. During this time, Peter and Sally become closer and begin dating.
However, tragedy befalls the Wards when Peter allows the Ellis Brothers (William Pawley, Edward Pawley and John Ridgely) to steal their idea and Sally falls through the ice, while skating with Peter, and catches pneumonia. J. Farrell MacDonald plays the doctor. Again, it is Hannah who is the glue which holds the family together. Eventually, however, her hidden secret threatens to upset the idyllic situation when her past revisits the small town.
Nobility and self-sacrifice made convincing and attractive in this quiet work of art.
gingerl-17 January 2007
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.
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.
A jewel
thmpsnrd7 January 2007
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.
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.
Passing dull, but fine cast and perfect set dressing
eschetic7 December 2006
Any film with the likes of Claude Rains and (Oscar nominated) Fay Bainter top-lined in it deserves to be better remembered than this interesting piece drawn from a noted author's (THE ROBE) short story in Cosmopolitan magazine. It's rather sad that it doesn't even merit *mention* in Leonard Maltin's otherwise valuable Movie and Video Guide before Maltin started pruning back his discussion of classic older films in 2000 to make way for newer films. Still, while viewers who make it through the first 15 minutes of this somewhat plodding piece when it shows up on Turner Classic movies occasionally may understand the lack of honor the film has retained, they should also note two of the great strengths of the old studio system.
This minor story (even for the late 1930's it was basically a 'chick flick': borderline weeper of a mother's sacrifice for her child) has the care of a first rate cast lavished on it and, more to the point here, every care the studio art (set and costume) department could take on a simple domestic drama which was not then a particular 'period' piece. The opening scenes are set less than 20 years before the film was made, but the studio art department lovingly recreates the home (especially the kitchen) that "modern technology" had so drastically transformed in those 20 years.
The attention to detail is only fitting in a story where the most interesting (if technically secondary) character (Raines) is a striving kitchen sink inventor (lacking anywhere else to experiment), but this very realistic glimpse of a way of life fast disappearing even as the film was being made offers serious pleasures even if the plot falls short.
All in all, wonderful cast makes this worth considering, wonderful set holds the attention of the history conscious even when the plot and dialogue can't. It isn't likely to show up on DVD anytime soon unless the studio should choose to do a (much desired) Claude Raines box while a significant part of the audience who remembers this great British/American actor is still around, but when offered on cable, WHITE BANNERS (the title drawn from the idea that the white flags of surrender can also be banners of pride when waved for the right reasons) may be worth setting the video recorder for to sample at least a bit of.
This minor story (even for the late 1930's it was basically a 'chick flick': borderline weeper of a mother's sacrifice for her child) has the care of a first rate cast lavished on it and, more to the point here, every care the studio art (set and costume) department could take on a simple domestic drama which was not then a particular 'period' piece. The opening scenes are set less than 20 years before the film was made, but the studio art department lovingly recreates the home (especially the kitchen) that "modern technology" had so drastically transformed in those 20 years.
The attention to detail is only fitting in a story where the most interesting (if technically secondary) character (Raines) is a striving kitchen sink inventor (lacking anywhere else to experiment), but this very realistic glimpse of a way of life fast disappearing even as the film was being made offers serious pleasures even if the plot falls short.
All in all, wonderful cast makes this worth considering, wonderful set holds the attention of the history conscious even when the plot and dialogue can't. It isn't likely to show up on DVD anytime soon unless the studio should choose to do a (much desired) Claude Raines box while a significant part of the audience who remembers this great British/American actor is still around, but when offered on cable, WHITE BANNERS (the title drawn from the idea that the white flags of surrender can also be banners of pride when waved for the right reasons) may be worth setting the video recorder for to sample at least a bit of.
Touching
stareyes2415 September 2004
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!
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!
Dated but very moving....
olddiscs3 March 2003
A true tear jerker...finally saw today on TCM / Oscar nominated Fay Bainter was excellent in the role of Hannah... dated in style & content but so moving...cant help but shed a tear... cast is top notch incl Jackie Cooper & Claude Rains...its a hidden classic... comb of Imitation of Life/ Stella Dallas of that genre... watch it! worth it I believe Fay Bainter was possibly the first actress to be nominated in 2 categories in same yr. best actress/Banners & best supt actress Jezebel (for which she won) since, Jessica Lange, Sigourney Weaver, & this yr. Julianne Moore have rivaled that honor... Bainter was wonderful!!
Small picture telling a big story
arturus7 January 2007
I missed the opening credits so I didn't know the source material for this film, but all during the picture I kept thinking that it reminded me of "Magnificent Obsession"...and of course Lloyd Douglas wrote the story for this picture as well.
This is a small masterpiece, well written, nicely and realistically produced on a small scale, leaving room for the largeness of the story and its message about faith and true character, which both seem to be lacking in modern life.
The acting is the most outstanding element in this dated but beautiful piece. Rains of course was the most famous and accomplished character actor of his time and he takes this character and makes him his own, though Rains was English, as the character is not, and makes no effort to hide his British accent. Still, we believe him. Bonita Granville and Jackie Cooper are splendid as the two youngsters.
The big surprise is Fay Bainter. She was a renowned stage actress of her time and if you only know her later character work on film, you wouldn't suspect it. Here, she shines brightly and gives a touching, riveting performance. It's clear why she was so revered! I kept watching just waiting for her next scene to see what she would do with it.
Try to catch this when it's shown again. You'll be deeply moved by the story and by its people, living their lives full-tilt!
This is a small masterpiece, well written, nicely and realistically produced on a small scale, leaving room for the largeness of the story and its message about faith and true character, which both seem to be lacking in modern life.
The acting is the most outstanding element in this dated but beautiful piece. Rains of course was the most famous and accomplished character actor of his time and he takes this character and makes him his own, though Rains was English, as the character is not, and makes no effort to hide his British accent. Still, we believe him. Bonita Granville and Jackie Cooper are splendid as the two youngsters.
The big surprise is Fay Bainter. She was a renowned stage actress of her time and if you only know her later character work on film, you wouldn't suspect it. Here, she shines brightly and gives a touching, riveting performance. It's clear why she was so revered! I kept watching just waiting for her next scene to see what she would do with it.
Try to catch this when it's shown again. You'll be deeply moved by the story and by its people, living their lives full-tilt!
A story of the human heart.
merrywood15 September 2000
We know the author; Lloyd C. Douglas, from whose book this film was made, from his novels of the human heart. In Magnificent Obsession, a novel presented on film, in 1935 and 1954, we are shown the power of the silent benefactor, and the strength that issues to the donor. In The Robe, we are shown the meaning of Christ Consciousness.
Here, in White Banners, Douglas takes us into the power of pure faith, and the power that comes from abandonment to Divine Providence, the most salient and basic teaching of all of the world's major religions.
This 1938 drama from the Lloyd C. Douglas novel, directed by Edmund Goulding, stars one of the most respected character actors of his time, Claude Rains, whom we remember most from his wonderful role in Casablanca. Rains was one of the most chameleon-like actors of his time, able to bury himself completely into his roles, much like Edward G. Robinson and Paul Muni and the few great actors of today's American films, such as Dustin Hoffman, Kevin Spacey and Edward Norton. Here, the enchanting story is engrossing but in light of the movie's fulfilling message, both inspiring and eloquent, not as important. It is the rare literature of film, such as this, that entertains while helping us grow and replace fear with love, the only true power in the world.
Here, in White Banners, Douglas takes us into the power of pure faith, and the power that comes from abandonment to Divine Providence, the most salient and basic teaching of all of the world's major religions.
This 1938 drama from the Lloyd C. Douglas novel, directed by Edmund Goulding, stars one of the most respected character actors of his time, Claude Rains, whom we remember most from his wonderful role in Casablanca. Rains was one of the most chameleon-like actors of his time, able to bury himself completely into his roles, much like Edward G. Robinson and Paul Muni and the few great actors of today's American films, such as Dustin Hoffman, Kevin Spacey and Edward Norton. Here, the enchanting story is engrossing but in light of the movie's fulfilling message, both inspiring and eloquent, not as important. It is the rare literature of film, such as this, that entertains while helping us grow and replace fear with love, the only true power in the world.
An Oscar worthy performance
jarrodmcdonald-121 January 2022
Warning: Spoilers
Fay Bainter plays the main character, and she is surrounded by a great cast that includes Claude Rains, Kay Johnson, Bonita Granville, Jackie Cooper and James Stephenson.
It's another one of those tearjerkers like STELLA DALLAS and TO EACH HIS OWN where the mother gave up a child due to a set of difficult circumstances (in this case, she was unwed). And years later she comes back into her child's life, when she takes a job as a housekeeper. She is very poignant in the scene when she admits to being the mother of a boy (Cooper) that was adopted by a neighbor family.
Fay Bainter received an Oscar nomination as Best Actress for this picture, but she also had a Best Supporting Actress nomination for her role in JEZEBEL the same year. She won in the supporting category, probably because Warner Brothers was pushing Bette Davis as the lead in JEZEBEL and it would be some sort of consolation for Bainter to not go home empty-handed. Though I think her work in this film deserved the Oscar over Davis. It's a pitch perfect performance that wisely avoids scenery chewing and over the top histrionics.
Fay Bainter and Claude Rains were paired again a year later in DAUGHTERS COURAGEOUS. They play opposite each other very well.
It's another one of those tearjerkers like STELLA DALLAS and TO EACH HIS OWN where the mother gave up a child due to a set of difficult circumstances (in this case, she was unwed). And years later she comes back into her child's life, when she takes a job as a housekeeper. She is very poignant in the scene when she admits to being the mother of a boy (Cooper) that was adopted by a neighbor family.
Fay Bainter received an Oscar nomination as Best Actress for this picture, but she also had a Best Supporting Actress nomination for her role in JEZEBEL the same year. She won in the supporting category, probably because Warner Brothers was pushing Bette Davis as the lead in JEZEBEL and it would be some sort of consolation for Bainter to not go home empty-handed. Though I think her work in this film deserved the Oscar over Davis. It's a pitch perfect performance that wisely avoids scenery chewing and over the top histrionics.
Fay Bainter and Claude Rains were paired again a year later in DAUGHTERS COURAGEOUS. They play opposite each other very well.
Fine for its day. Very dated now.
debbiemathers4 July 2022
These are the sort of films they were making in 1937. A sentimental drama with a stellar cast including Fay Braintree, Kay Johnson and Claud Rains doing their stuff with Bonita Granville and Jackie Cooper as a couple of sprightly teenagers. The plot is frankly very sentimental and dated with the acting which was fine in its time seeming to show its age too. But people with a good yearning for nostalgia will enjoy it.
Scorned by Movie Snobs
jacksflicks14 July 2005
White Banners is part of the social-consciousness repertory of Warner Brothers during the Golden Era. Though Hal Erikson of the Movie Guide calls it forgettable, there's nothing forgettable about this film. It has interesting, attractive characters, a semi-documentary about an inventor who came up with one of the first iceless refrigerators, a multi-level plot and an inspirational theme. It's a kind of Methodist, Power of Positive Thinking message, which at times gets pretty preachy. But if you don't let a dated dramatic style get in the way, especially Claude Rains's toothy emoting, you'd have to be a pretty churlish prig not to be moved.
I suppose hack reviewers find safety in numbers, so the hack consensus for White Banners is thumbs down. But true movie lovers will find White Banners a refreshing evocation of an un-deconstructed age, when guileless, inspirational movies were welcomed by audiences who didn't think they were too clever for a bit of gentle sermonizing about doing the right thing. And it doesn't have a neat Hollywood ending either.
I suppose hack reviewers find safety in numbers, so the hack consensus for White Banners is thumbs down. But true movie lovers will find White Banners a refreshing evocation of an un-deconstructed age, when guileless, inspirational movies were welcomed by audiences who didn't think they were too clever for a bit of gentle sermonizing about doing the right thing. And it doesn't have a neat Hollywood ending either.
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