East of the River (1940) Poster

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5/10
John Garfield & Co. do what they can with a mediocre screenplay.
Art-2224 December 1998
A disappointing screenplay hurt my full enjoyment of seeing John Garfield, one of my favorite actors. He behaves badly most of the time, so I found it hard to accept his rather sudden transformation into a self-sacrificing angel because his mother (Marjorie Rambeau) lectures him. He hadn't listened to her before, so why did he start? Similarly, Brenda Marshall, who we hear at the start was forging signatures on checks, is also transformed after she gets the taste of family life with Rambeau and falls in love with Garfield's adopted brother, William Lundigan. These plot elements didn't ring true. But worse, the final behavior of the revenge-seeking gangsters, led by Douglas Fowley, was too stupid to be believed, although it did create some suspense.

The acting wasn't too bad. I got used to the thick (but understandable) Italian accents of both Rambeau and George Tobias, both of whom were very good. So is the child actor, Joe Conti, who plays Garfield as a boy. The rest of the cast did what they could with the material, but the film must have been very heavily edited. As one who is interested in credits, I noticed that Charley Foy never appeared, and both Robert Homans and Jimmy O'Gatty are barely seen and have non-speaking roles. All three get onscreen credit, while other actors with large speaking parts are uncredited. The three must have had good agents.
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6/10
Reaching For Something Better
bkoganbing16 November 2011
East Of The River is your typical Warner Brothers urban drama which that studio had down as a formula. Though the plot might not be recognizable at first, it's taken from The Charge Of The Light Brigade where Olivia DeHavilland switches her affections from Errol Flynn to younger brother Patric Knowles. More than any other major studio, Warner Brothers was big on recycling stories if they worked.

The two brothers are John Garfield and William Lundigan. As no one would believe these two are blood kin, there is a prologue where the orphan who grows up to be Lundigan is placed in the care of Marjorie Rambeau the Italian immigrant mother and she raises him as her own. Lundigan turns out to be a real straight arrow, college degree and all. Garfield however continues in his hoodlum from childhood and he's just getting out of prison on the West Coast when he goes east to see Lundigan graduate from college and he takes his moll Brenda Marshall with him.

Garfield also has a score to settle with Douglas Fowley and Jack LaRue who framed him into the joint though the film ain't real clear on how they did it. The fact he's losing Marshall to Lundigan cramps his style though.

Of course it all works out in the end and East Of The River doesn't exactly break any new ground. James Cagney passed on this one, he'd done it all before and Garfield was only in his third year at Warner Brothers.

Both Marjorie Rambeau and George Tobias played all kinds of ethnic characters in their careers and they do well in their silver screen Italian parts. Marshall does well also as the girl reaching for something a lot better than Garfield can give her.

John Garfield's most devoted fans won't rate East Of The River as one of his top performances, but the film does showcase Garfield at his urban best.
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5/10
A routine B that contract player John Garfield had to endure
AlsExGal21 January 2023
In this hammy melodrama from Warner Brothers and director Alfred E. Green, Italian immigrant "Mama" Teresa Lorenzo (Marjorie Rambeau) struggles to raise her son Joe on her own. Despite the hardship, she even agrees to adopt Joe's orphaned, homeless friend Nick. As the boys grow into men, Nick (William Lundigan) stays on the straight and narrow, graduating from college. Meanwhile, Joe (John Garfield) has fallen into a life of crime, which he keeps secret from Mama. When Joe returns home with new girlfriend Laurie (Brenda Marshall), the stage is set for conflict as Nick falls for the gal, too.

This is yet another substandard film that Garfield had to endure, and this one is further hampered by some bad acting and a cliche script. Rambeau is just terrible as the stereotypical "Mama", sporting one of the most exaggerated phony accents ever committed to celluloid. George Tobias, too,lays it on thick, but one expects that of his generally boisterous performances. Marshall makes for a bland leading lady, and I had a hard time figuring out why both guys went crazy over her.
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Good cast makes routine crime drama watchable
BobLib4 November 2003
Gotta admit it, no studio was as good at making crime movies as Warner Brothers during the 1930's. With Cagney, Bogie, and, here, John Garfield, there were fewer actors at any one studio who were as good at being bad. And that's what makes "East of the River" so watchable. The performances help to turn what's basically a routine crime drama into a watchable, second-string noir treasure.

As to the basic plot, that's been done again and again in endless variations. Warners even used it at least a half a dozen times. Boyhood best friends/brothers get into some sort of juvenile scrape. One goes "good," the other "bad." Both meet years later and thereby hangs the tale. However, when the boys are played by Garfield and popular 30's second-lead William Lundigan and the girl they both love by Brenda (Mrs. William Holden) Marshall, the good performances that result raise the story above the standard clichés. Almost as good, albeit with a lot of stock "Italian" mannerisms ("You a good-a boy!"), is Marjorie Rambeau as the boys' mother. Rambeau was one of those actresses who could shine in a broom closet, playing either the star's mother or a world-weary chippie (Catch her her in 1931's "The Secret Six" sometime) with equal finesse, transcending whatever stereotyped qualities may have been in the script. Also excellent are old Warners standby George Tobias as an excitable "Italian" waiter, Douglas Fowley as a particularly despicable heavy, and Moroni Olsen playing yet another of the authority figure roles he always did so well.

Okay, "East of the River" may not be in the same league with "Little Caesar," "The Public Enemy," "Angels with Dirty Faces," or even "You Can't Get Away with Murder." What it IS, though, is an excellent little (75 minutes) crime melodrama of the old school that is definitely worth a look.
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4/10
This Shows No one at His or Her Best
Handlinghandel6 December 2004
Two boys behave badly and are to be sentenced. The Italian mama of one implores the judge to let her take care of her son and he hesitantly agrees. The other one, though, is off to reform school. He has no parents. So mama says she will adopt him; and William Lundigan and John Garfield are raised as if they were brothers, above a restaurant in Little Italy.

This movie begins stylishly, with a tour guide telling about New York. Not too different from what they say 80-some years later than the action is meant to take place. Orchard Street used to be an orchard and yes, Canal Street was once a canal.

And the action is standard Warner Brothrs crime drama issue. Not at all bad. Brenda Marshall, furthermore, is very appealing as a moll who decides to walk the straight and narrow. She was a beautiful woman in a somewhat unusual way and, though not a great actress based on her performances, she could have been coached into one had she been so inclined.

The problem is the casting. OK, John Garfield was not Italian. Neither was Edward G. Robinson, but they both played Italians at times. However, what really shocked me is the direction of the mother character, and her man friend as well, to use thoroughly implausible "he's-a my good- bambino"-type dialect. It's almost as if major characters were in blackface.

I didn't notice who the secondary players in the cast at the beginning and was horrified to see that the marvelous character actress Marjorie Rambeau ("Primrose Path," "Scandal Sheet," among many superb performances) was playing this role.

It was in keeping with the times to a degree but it comes across as offensive today. .
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10/10
* Great Movie!
dweilermg-128 April 2020
A wonderful heartwarming movie especially the differences between the son and the adopted son!
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5/10
Brynie surfaces again! Rambeau sinks!
JohnHowardReid14 November 2017
Warning: Spoilers
John Garfield (Joe Lorenzo), Brenda Marshall (Laurie Romayne), William Lundigan Nick Lorenzo), Marjorie Rambeau (Mama Lorenzo), George Tobias (Tony Scaduto), Moroni Olsen (Judge Davis), Douglas Fowley (Cy Turner), Jack LaRue (Scarfi), Paul Guilfoyle (Balmy), Jack Carr (No-Neck Griswold), Russell Hicks (warden), Jimmy O'Gatty, Ralph Volkie (Turner's henchmen), Robert Homans (patrolman), Joe Conti (Joe, as a boy), O'Neill Nolan (Nick, as a boy), Murray Alper (Dink Rogers), Roy Barcroft, Pat O'Malley, Ralph Sanford (policemen), Eddy Chandler (railroad detective), Richard Clayton (delivery boy), Ann Edmonds (bridesmaid), Frank Faylen (tour guide), Frank Mayo, Jack Mower, Cliff Saum (prison guards), Sol Gorss (prisoner), Fred Graham (policeman that Joe punches), Edward Fielding (university president), Creighton Hale (casino manager), Arch Hendricks (Sergeant McNamara), George Lloyd (man with letter), Jerry Mandy (Lombardo), William Marshall (commencement usher), Howard M. Mitchell (detective), Armand "Curly" Wright (Bruno), Edwin Stanley (commencement speaker), Hector Sarno (Pop, a diner), Al Rhein (blackjack dealer), William Pawley (Dave Carter).

Director: ALFRED E. GREEN. Screenplay: Fred Niblo, junior. Story: John Fante, Ross B. Wills. Photography: Sid Hickox. Film editor: Thomas Pratt. Art director: Hugh Reticker. Gowns designed by Howard Shoup. Make-up: Perc Westmore. Music: Adolph Deutsch. Music director: Leo F. Forbstein. Dialogue director: Hugh MacMullan. Technical adviser: Marie Jenardi. Assistant director: Lester D. Guthrie. Sound recording: Stanley Jones. Associate producer: Harlan Thompson. Producer: Bryan Foy.

Copyright 9 November 1940 by Warner Brothers Pictures, Inc. New York opening at the Globe: 26 October 1940. Australian release: 30 January 1942. 8 reels. 6,739 feet. 74 minutes.

SYNOPSIS: Two delinquent boys from the New York slums are given a second chance by a sympathetic judge. One goes straight, the other lands in jail.

COMMENT: John Garfield gives his typical role a good try in this entry from Bryan Foy's "B" unit at Warner Bros. Unfortunately, he is badly let down by two of his fellow thespians.

In fact, I would describe Marjorie Rambeau's efforts in this movie as one of the worst performances of all time. For sheer, unconvincing hamminess, it would be hard to beat.

True, George Tobias makes a sterling effort to run her close, but Miss Rambeau (assisted by a remarkably indulgent director) has the game sewn up. No-one can roll their eyes and make with the ridiculously phony accent like Miss Rambeau. Mr. Tobias is just not in the same league.

The other players, led by Brenda Marshall and William Lundigan, make a bit of effort to bring the story down to earth, but are often defeated by the corny script. Only the heavies, particularly Douglas Fowley and Paul Guilfoyle, really impress.
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Standard
Michael_Elliott10 March 2008
East of the River (1940)

** 1/2 (out of 4)

Predictable Warner film tells the story of two friends who go different ways in life. One becomes a good guy while the other, played by John Garfield, can't seem to stay out of trouble. We've seen this story countless times so I'm going to guess Warner just used one of their old screenplays to give Garfield something to shine in. We've seen this story in countless gang pictures from the studio so if you've seen at least one of them then this film won't offer you anything new. As usual, Garfield is given a boring screenplay but he makes the film watchable due to his great performance. He's very strong in the film and allows us to feel sorry for him as well.
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8/10
"Some of my best friends are cops . . . "
oscaralbert1 February 2022
Warning: Spoilers
. . . misguided con artist "Joe" informs his not-so-doting mom as EAST OF THE RIVER concludes. Due to academic grade discrimination, Joe has lost his lover, his fortune, his home and nearly his life to his back-stabbing teacher's pet foster brother, "Nick." This film makes it clear that Joe has to sweat and bleed for the C's and D's on his report card far more than Nick does for the Straight A's cluttering his ill-gotten summaries. While Nick is lounging around a college campus, Joe is taking his lumps in the school of hard clubs. EAST OF THE RIVER documents Joe's genius at thinking on his feet, while Nick's only focus seems to be upon stealing Joe's fickle girl. Joe has no inkling that America's Secret Police would soon assassinate his Real Life avatar, which makes his final line here highly poignant.
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8/10
John Garfield meets Brenda Marshall
michaelchager11 December 2022
Director of Union Depot and Baby Face, Alfred E. Green guides an accomplished cast in a crime-oriented feature worth watching. Garfield commands the screen but the irrepressible Brenda Marshall earns our attention and affection. Marshall is on the lam from charges in Nevada, is smarter than Garfield and is the long distance love of his life. Released from prison he has unfinished business that takes him away from her. Garfield's moment of truth comes in a memorable scene with Marjorie Rambeau, who plays his mother. A noted Broadway actress since 1913 and in movies since 1917, she stops this show with her own unexpected dominance. The familiar George Tobias is her partner in setting a positive tone. Lundigan shows some real emotion in a lesser role.
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Garfield goes west and returns east
jarrodmcdonald-116 October 2023
Warning: Spoilers
Warner Brothers turned out crime pictures with hoodlums that were cocky and self-assured. Of course, all the bravado that John Garfield musters in this production is mostly for show; deep down he's a tormented guy. Tormented because he had opportunities for a better life which he squandered on more than one occasion.

Providing a contrast to the criminal exploits of Garfield's character, we have eternally nice guy William Lundigan playing the good son of Mama Teresa (Marjorie Rambeau). Lundigan was never much of an actor...he had a nice looking face, a wonderful voice, but no real dramatic skills, so he was essentially playing the same bland type in whatever film he happened to be cast in by Hollywood studios. In this case, his blandness works as an opposite dynamic to the violent-prone hoodlum played by Garfield.

At the beginning of the story, the two male characters are glimpsed as preteen boys who are saved from being sentenced to a juvenile reformatory the day Mama gives an impassioned speech before a kind-hearted judge. She promises to do right by the boys and bring them up with discipline.

Initially Lundigan's character is just a pal of Garfield's, but he's an orphan, so Mama adopts him and ends up being prouder of him than her own flesh-and-blood son. Lundigan studies hard, graduates from college and finds a good job. At the same time Garfield spends a stretch in prison out west, and he never has legitimate employment or a respectable lifestyle. When Garfield is released back into society, he returns east.

He comes back to visit his family in New York with a girlfriend (Brenda Marshall) in tow. She has also served time behind bars, but she's able to fully reform and redeem herself. Part of her success in going straight involves her falling in love with Lundigan, so the middle portion of the film involves a triangle between her and the two brothers.

Miss Marshall would develop into a fine actresses after more experience in WB programmers, but at this early point in her career, her performance is a little too one-dimensional. She is rather conspicuous in how she is trying to portray her character's toughness then subsequent softness. It would have been better if Ann Sheridan had done this type of role.

The storyline is fairly predictable. We know Marshall will end up with Lundigan to facilitate a happy ending, and Garfield will either get shot by the cops or wind up back in the hoosegow. Despite the routine aspects of the picture, there are some engaging scenes. Garfield is excellent as always, but the glue that holds this drama together is the performance rendered by Marjorie Rambeau as the mother.

At times, I thought she was spoofing a working class Italian, but then I realized she was just strongly punctuating each moment so that we saw what a devoted mother does out of love for her sons. The moments between Rambeau and Garfield ring true, even if the script is not really giving them anything very complex to play.
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