This movie could have been an all-time classic, except that it's timing was disastrous - an anti-war film seeking sympathy for a Germanic heroine released in the second week of 1939!
But, now, removed from the immediate patriotic passions of that time, we can objectively appreciate the quality and meaning of the film. It was ahead of its time also in the fact of it not following the strict constraints of 'genre' films - it had a very complex story to tell and told it truthfully and unflinchingly. I notice that several of the reviews posted here criticize the film for "being two different movies", or "changing gears midway through and becoming another film." Sorry people, that was the whole point of this cinematic exercise - a unique and totally challenging film. I'm afraid that these critics are used to getting their films rigidly by the numbers and can't take complexity or surprise. This is an extremely complex film and, while straightforwardly entertaining, can be understood on so many different levels of meaning. There is absolute genius in the subtle symbolism of some of its messages, and the more thoughtful, analytical, and sophisticated the viewer - the more they will get from it. Heartbreaking, I believe, is the word which best describes the feeling one comes away with. The film's deceptive surface simplicity absolutely devastates the viewer by the end. Most people I've watched this with, men and women both, are shaken and in tears at the end - even the most jaded of viewers Jake an excuse to leave the room for a while in an effort to resist the emotion.
Emotion - the key to the film's success is almost entirely due to the exquisite and incomparable musical score of Max Steiner. MAX STEINER wrote the score in 7 days, working night and day, so that he could be able to depart from Warners and go to Selznick studios to begin his commitment to writing the music for "Gone with the Wind". As monumental as that score was, his intense effort for "We Are Not Alone" is even greater. The scoring is not only melodic and beautiful, but the choice of orchestration grabs the heart and the thematic expertise emotionally is the soul and guiding force of the film. And Tony Gaudio's excellent photography conveys a nice pictorial compliment. Needless to say, the acting is superb, especially Jane Bryan, who Noel Coward called the finest movie actress in the world after seeing this film.
This is a one and only, and if you're a sensitive, intelligent lover of true beauty - it's for you. There will never be an equal.
But, now, removed from the immediate patriotic passions of that time, we can objectively appreciate the quality and meaning of the film. It was ahead of its time also in the fact of it not following the strict constraints of 'genre' films - it had a very complex story to tell and told it truthfully and unflinchingly. I notice that several of the reviews posted here criticize the film for "being two different movies", or "changing gears midway through and becoming another film." Sorry people, that was the whole point of this cinematic exercise - a unique and totally challenging film. I'm afraid that these critics are used to getting their films rigidly by the numbers and can't take complexity or surprise. This is an extremely complex film and, while straightforwardly entertaining, can be understood on so many different levels of meaning. There is absolute genius in the subtle symbolism of some of its messages, and the more thoughtful, analytical, and sophisticated the viewer - the more they will get from it. Heartbreaking, I believe, is the word which best describes the feeling one comes away with. The film's deceptive surface simplicity absolutely devastates the viewer by the end. Most people I've watched this with, men and women both, are shaken and in tears at the end - even the most jaded of viewers Jake an excuse to leave the room for a while in an effort to resist the emotion.
Emotion - the key to the film's success is almost entirely due to the exquisite and incomparable musical score of Max Steiner. MAX STEINER wrote the score in 7 days, working night and day, so that he could be able to depart from Warners and go to Selznick studios to begin his commitment to writing the music for "Gone with the Wind". As monumental as that score was, his intense effort for "We Are Not Alone" is even greater. The scoring is not only melodic and beautiful, but the choice of orchestration grabs the heart and the thematic expertise emotionally is the soul and guiding force of the film. And Tony Gaudio's excellent photography conveys a nice pictorial compliment. Needless to say, the acting is superb, especially Jane Bryan, who Noel Coward called the finest movie actress in the world after seeing this film.
This is a one and only, and if you're a sensitive, intelligent lover of true beauty - it's for you. There will never be an equal.