Pluskylang Great Film overall

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Jenna Walter The film may be flawed, but its message is not.

Staci Frederick Blistering performances.

calvinnme Charles Coburn plays the self made man of industry (B.F. Fulton) who has one child, Polly (Barbara Stanwyck), who is not just his daughter but a confidante and even a protégé of sorts about business matters. Meanwhile, B.F.'s wife (Spring Byington) is pretty much wasted here as she spends the entire film knitting.Polly is in love with an attorney, Robert S. Tasmin III, who refuses to marry Polly until he works his way up to assistant partner. Meanwhile, while Bob is up on that corporate ladder, down on the ground Polly meets her friend Apples (Margaret Lindsay) for a drink in a nearby tavern. Educator and lecturer Tom Brett (Van Heflin), zeroes in on Polly and they start talking politics. Polly seems to fall for Tom because of his Bohemian lifestyle and his stylish rudeness that she never encountered in her circles. Within 24 hours they are married. Brett's good buddy is a leftist radio host, Martin Ainsley (Keenan Wynn), who is always talking down rich people in general and B.F. in particular.Yet it is B.F. who comes across as the good guy. He doesn't try to interfere in his daughter's life and seems to genuinely care about his employees. So Polly and Tom start out marriage in a log cabin in Minnesota where Tom is working on his book. Meanwhile, Polly figures - "How can a little financial boost hurt?". She goes to somebody running a nationwide lecture tour and promises to cover his losses if he will hire her husband. Tom knows nothing of this, but once he is out on the circuit his ideas are a big hit. Ultimately, his books and lectures become very profitable and Brett becomes a rich guy too, a member of FDR's brain trust.Will success change Tom Brett? Was Ainsley a phony in the first place? Will Tom and Polly's marriage work out? Watch and find out.I only gave this a six because the adapted screenplay was a bit of a sprawling saga for just under two hours. This film was supposed to be set from the Great Depression years into the midst of WWII, and it was adapted from a novel written in 1946. B.F. and Polly, symbols of the wealthy class, are showcased as the real people here, and Brett and Ainsley ultimately are the stuffy and unbending types with the same character flaws they have been ascribing to the rich.One big negative I would give it - It doesn't try at all to dress people in the clothes of the period. Stanwyck is wearing the same kind of tailored suit that was popular in 1948 at the beginning of the film - which was the early 1930's, and Heflin, who is supposed to be poor, wears a wrinkled suit from the late 1940s himself.The script is a bit of a muddle - it does not follow the novel, especially the last half , but I'd watch it for the acting and for an object lesson in the production code really REALLY trying to make rich people look like misunderstood benefactors, especially just prior to the red scares. It's definitely NOT boring.

blanche-2 Barbara Stanwyck is "B.F.'s Daughter" in this 1948 film, with Charles Coburn as B.F., Van Heflin, Keenan Wynn, and Spring Byington.This film is based on a controversial novel with a different, more political emphasis and turned into a romantic soap opera by MGM.Stanwyck plays Pauline, from a wealthy family, who is engaged to marry Bob Tasmin (Richard Hart), someone she's known for years. However, she meets a good-looking and interesting left-wing economy professor, author, and lecturer, Thomas Brett (Heflin) and falls in love with him. They get married right away and move to a cabin in Minnesota. Polly, or Paul as she is called, takes an allowance from her father with Tom's blessing - however, he's made it clear he's not interested in B.F.'s money or B.F.'s interest in his career.Unbeknownst to him, Pauline uses her father's connections to get Tom started on the lecture circuit. He becomes very successful, and Pauline is determined to help him be a great man and furnishes a fabulous house in Connecticut - which he hates and announces that he won't be returning there. He becomes a big mucky-muck in Washington as war approaches. Meanwhile, Pauline sees her marriage falling apart.One of the points of the book was that the common man was the true patriot and true American, and Marquand, the author, took the liberal approach of resentment toward the rich. Some of this is softened in the film, though it's obvious that B.F. and Tom come from very different places ideologically. In MGM's hands, this is a clash of ideologies that gets in the way of a marriage.I found the performances terrific from everyone, but especially Stanwyck, who is lovely and sincere, and Heflin, a wonderful actor who left us too soon, and a fine leading man or character actor, whatever the role called for.The story certainly held my interest, but I felt that the Heflin character was too rigid. It's a tougher world today in which to make a career than it was in the '40s, okay, and it's admirable to want to "make it on your own," but even with connections, if you can't cut the mustard, you won't have success. Obviously Tom was a talented man and good speaker and once he got started, did very well. There is nothing wrong with getting help at the bottom of the ladder - I took issue with this and found it naive. Also, knowing the relationship his wife had with her father, to disrespect him as he did in the party scene was wrong.I think just about anything with Barbara Stanwyck in it is worth seeing, and I also feel that way about Van Heflin. And the supporting cast of Coburn, Byington, Wynn, and Margaret Lindsey are very good. The script is a little problematic, but the cast elevates it.

brucewhain It may be that my nine-star rating is reactionary. I added one extra star because I thought the six that were displayed was at least one too few.) And it may be that the apparent custom of poo-pooing this movie has resulted from the government authorities of the time - or even the present - and their sympathizers, finding industialist B. F. Fulton's after dinner speech about being confined to a two-by-four room, treated like a schoolboy and "told how to run my own business" a bit over the top.Both B. F. Fulton, played by Charles Coburn, and his daughter Polly, played by Barbara Stanwyck, along with Polly's mother, represent the rich American industrial class in this film, and are drawn far more sympathetically than members of the opposing, intellectual/moralist camp. The moralist male hero of this love-story-with-timely-political-interest (which has been ineptly described as a soap opera) is no exception, as he frequently gets what he thinks are deficient moral standards of his opponents mixed up with just being a member of the opposing camp, and tends to solve his arguments by turning tail and walking out once and for all (before returning) except once notably when Barbara tells him to stay put: so much for alleged female stereotypes.This may be the reason Van Heflin's performance is not so well liked - because of the personality problems of the character he portrays. His friend and cohort, played by Keenan Wynn, if anything, is worse, constantly making aspersions and predictions of high import about people that have no basis in fact on his radio program "There's one good thing though, he's only on 3 days a week," quips B. F. Fulton.) though he is more honest than Heflin's character, openly admitting at one point that he consciously uses his victims - with no regard for veracity of the claims he makes about them - for his own selfish ends.It doesn't seem there can be much argument that the characters of Polly and B. F. Fulton are not played with affection by the two celebrated actors. And that of B. F. Fulton is completely devoid of any visible selfish motive, a wholly good egg. Stanwyck has curtailed her sassier, blacker side to make way for the by-birth-and-training more milque-toasty ingenue, and does so consistently. And she's good too, one slip - a request by this aristocrat with a conscious made early in the film that a friend of her jilted erstwhile fiancé engage himself in insider trading - notwithstanding: this apparently to be interpreted as an uncharacteristic youthful indiscretion.For the most part, the three Fulton family characters represent the epitome of noble goodness and we are taken in when Fulton senior soliloquizes the vanishing of his own breed during his last appearance. According to other reviewers here, the movie uses lines from an original J. P. Marquand novel, and the many sometimes ironic and clever turns of phrase help to ingratiate these characters, increasing the high level of believability and naturalness.Even the scenery and music seem to be something special. (No credit is given for the music in the version I saw.) From the play of the morning light in the Fultons' Park Avenue apartment, as the little blacksmith of their whimsical parlor clock hammers out the chimes of the hour, to the unflattering contrast of oppressiveness in the heavily draped and damasked dining compartment of Polly's formal custom built mansion... From the creepily groaning nonharmonic tones derivative of Wagner's Im Treibhaus, to the more exaltant reminiscence of Tristan und Isolde (for which the former was a study) heard later on - and of course the score no doubt has more to distinguish it than these often alluded to war horses of movie music genre - special care has been taken.

allidesire ***SPOILERS*** ***SPOILERS*** BF'S DAUGHTER was released in the United Kingdom under the name POLLY FULTON, and I wonder if this would have been a better title in the same vein as her STELLA DALLAS, THELMA JORDAN, and Joan Crawford's Oscar winning MILDRED PIERCE. Now, while this was no MILDRED PIERCE, it was a typically glossy MGM soap opera treatment of a best-selling novel that was also a political satire of the United States' upper class citizens nearing the end of the great depression. It was glossed-over into a simple love story destined for a happy ending. Much of the sheen showcased the beauty and acting skills of one Miss Barbara Stanwyck, a title of respect given to her as early as 1931, and puts her in an excellent company of seasoned professionals who hold their own and keep the story charming and engaging. One of my favorite scenes is where Stanwyck's Polly reacts to what the maid tells her when her father BF is lying ill in the next room. Another favorite Stanwyck scene is near the end when she confronts her husband about the Dutch girl with whom he is rumored to be having an affair and Stanwyck's Polly tells him that she loves her ex-fiancé because he is an honorable and honest man, basically like her father, but she is not in love with him; yet she hates her husband for not appreciating and respecting her father, and at the same time she really loves her husband, whom she may end up losing. The amazing thing I noticed in this scene is that I could see here the same Stanwyck that I saw in her closing moments with Richard Chamberlain in "The Thorn Birds" some thirty-five years later in the famous `I still feel, I still love' scene before she goes off to die. The emotion and the control, the fire and desire, were here as it remained with her to the very end. It is a Stanwyck trademark and really the controlling element of her portrayal of Polly Fulton. If you are a Stanwyck fan, you will appreciate that this is her picture from start to finish.A very essential part of this movie that should not go unnoticed is the cast of supporting stars. Van Heflin and Stanwyck always had good chemistry and seemed to be cut from the same mold. See them in the year earlier MARTHA IVERS or EAST SIDE WEST SIDE made the year later for more of the same subtle interplay between two consummate stars. It's particularly rare that a pairing of two such similar actors sparkle as well when the norm is to make them opposites for more attraction. Other veteran actors in this movie who had played the same role opposite Stanwyck in other movies should be noted. Her loving and doting father, BF, a self-made millionaire and industrial-capitalist is not immune to shedding a tear when his daughter announces that she plans to elope, and he blames it on the sun in his eyes. He is played with the feisty charm of Charles Colburn who was seven years earlier her loving and doting father in THE LADY EVE. Quite similarly, her mother played here so effectively by Spring Byington was also her sweet, and widowed mother in MEET JOHN DOE. The only real difference in Miss Byington's two mothers is their social statuses, but both were patient and kind and ready to yield advice when asked based on what their husbands would have said. Then there is Martin Ainsley, a somewhat lovable antagonist, played by Keenan Wynn who is both a commentator against the rich, and later a war correspondent who was always making monumentally incorrect predictions concerning the unfolding drama of the dawning of the Second World War almost to the point of being comical. His real name, Francis Xavier Aloysius James Jeremiah Keenan Wynn, was a comic piece in itself, and in real life, he was the son of actor-comedian Ed Wynn and Hilda KeenanPerhaps it is because I had the attitude that too much work goes into making a movie for it to be dismissed as totally worthless, as some critics would, that I wanted to find the good of this story. There is a very telling line delivered by Polly's best friend, Apples, about marriages, also expressed by BJ in another scene in a slightly different way, which said that marriage is not always the same as in the books but it's still worth fighting for. Some have said that this movie was not faithful to the book on which it was based and it could have been a better movie if it had been. Is this news? In Hollywood, I think, this is the norm rather than the exception. If I were writing a review of a car made in the United Kingdom, I would hesitate to be critical of the fact that the stirring wheel is on the right side of the vehicle. I restate my original claim that this movie chose to emphasize personal relationships over worldly and political issues. Perhaps a movie like Striesand's and Redford's THE WAY WE WERE did a much better job of clashing love and politics some twenty six years later, as many movies do, I'm sure, but that one quickly comes to mind. Polly worshipped the ground that her father walked on and he wanted her to be happy above all else. His influence was quite evident and he was the more dominant of the two parents throughout the movie. I loved the sarcastic toast that Tom made to his father-in-law at dinner which said: `To BF from whom all blessings flow: ' True to style, the sarcasm was totally lost on Mrs. BF who remarked, `That's really sweet, Tom.' A more subtle influence from her mother should be noted by the way Polly wanted to be both needed and dominated my the men in her life. The scene where her mother discovers Polly with a needle and thread is an amusing one. It was, of course, for mending her suitor's (Heflin's) coat. Upon visiting her fiancé's rather plain and unadorned apartment for the first time after he has declined her financial advice based on a tip she assumed from her father, her second assumption was that this would be where she could finally do something to help her struggling up-and-coming-junior-executive-fiancé but he is too morally correct and proud to be interested in her plans. She leaves thinking that he is an iron man, cold and heartless, much like the symbolic iron man clock that the Fultons have in their home, which strikes a resounding blows for each hour that passes. He even promises her that when they are married, they will have iron animals on their lawn in New Jersey, but her eyes have a faraway look in them that says `South Seas.' A few scenes later a turning point comes early in the movie when Polly asks her fiancé, who was also her childhood sweetheart, to forbid her to go to the Speakeasy with her friend Apples, and he says that he would wait until they are married. However, at the Speakeasy the first thing that the new man-to-be in her life, played by Van Heflin, says to her is that he would forbid her from coming to such a place with anyone other than himself. Later when she complains about his missing button and torn suit, she replies, `you look awful from top to bottom.' His response was, `Why don't you improve me.' Nobody can say that he didn't ask for it. When he asks her to go with him to the South Seas, their fate is sealed. As great an actress as she was, even Miss Stanwyck admitted that she was in her share of bad movies, but I also remember reading once in the biography STARRING MISS BARBARA STANWYCK by Ella Smith where she said that nobody ever sets out to make a bad movie, but once you realize that is isn't going to turn out as well as you hoped, it still deserved the best you could give of yourself. Here we have in a sentence the legendary professionalism of this eternal star. Even if this movie is not all that it should be, just look for the silver lining. It's Barbara Stanwyck.