Tedfoldol everything you have heard about this movie is true.

Neive Bellamy Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Hattie I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

JohnHowardReid I don't really object to tosh. Everyone knows that Hollywood's currency is counterfeit. No-one really gets upset that Hollywood has no sense of history, no interest in Truth and but the scantiest regard for facts. You would have to be mighty naive to accept as gospel any of the details - even date of birth - presented in a Hollywood "biography". But that surely is one of the pleasures of movie-going. The fancy and creativity of the artist is not held back by mundane facts. What we usually see on the screen has precious little in common with the real world. And that's a good thing. That's why we go to the movies in the first place. We don't want to see real life in a mirror, but a beautifully contrived romantic illusion. And that's why I don't like The White Cliffs of Dover. The movie offers an illusion all right, but it's not artistically attractive. It's clumsy, heavy-handed, embarrassing and inept. The propaganda here is laid on with a trowel. With two trowels. With both hands. One searches in vain for subtlety, for cleverness, for craftsmanship. The musical clichés for example do nothing but draw further attention to the elephantinely-plotted twists of the script. And what a script! its dime-novelettish plot, its unspeakable dialogue and cardboard characters thrown into even greater relief by the inane, doggerel verse the heroine spouts at every contrived opportunity. You can't even turn to the actors to shed some talent on this gloom. On paper, the cast looks great. But you sit there watching the screen in expectation and nothing of interest happens. Gladys Cooper, for instance, whom we are all expecting to spark up the tedious proceedings with her usual masterful portrait of aristocratic villainy, is here lumbered with a sympathetic role.

Hot 888 Mama . . . by "Bad Karma" stemming from a cursed chess set, MGM movie studio tells theater goers during THE WHITE CLIFFS OF DOVER, released while the final outcome of WWII was still in doubt. Much of this story revolves around U.S. First Lady Dolly Madison's board game, looted from our White House before British arsonists torch the place during their invasion of the USA in the 1800s. (Now, with the notorious British "Brexit" vote producing a record 1200-point drop of the New York Stock Exchange Feb. 5, 2018, it's clear that the wall from Key West to the tip of Maine on America's East Coast MUST be at least twice as high as that wall to the south!) Though Col. Forsythe goes through the motions of repatriating Dolly's Game of Kings toward the end of this flick, Wikipedia reports that it was sent back with missing rooks. Tensions between the USA and England are higher now than they have been since Dolly was baking her Lady Fingers in the White House ovens, which is the main reason that the hands of the "Doomsday Clock" were recently moved forward to 11:59 PM (Greenwich Standard Time). The big takeway from THW WHITE CLIFFS OF DOVER is for America to keep her eagle eye upon this so-called "United Kingdom" in order to insure that we never get rooked again!

Briwilmen This movie telecast recently on TCM was one of many made to promote better relations between the ordinary people of Britain and the USA. Michael Korda claims in his book that his father, Sir Alexander Korda was sent to Hollywood by Churchill, before the USA entered the war, with a mission to persuade his movie mogul friends to make movies with pro British themes. By the time this movie was released,there was a large build up of US service personnel in the UK in preparation for invasion of Europe and resentment towards the GI's was not uncommon. For many of todays viewers it may seem to be a little over the top. Howerver it is a classic, if for the only reason, it was our first glimpse of the fabulous Liz Taylor.

Greg Couture Finally caught up with this one on a recent Turner Classic Movies broadcast and found it quite enthralling, despite its rather protracted length and of-its-era WWII wartime propagandizing. It's exceptionally smoothly directed by Clarence Brown and mounted in the very plushest M-G-M manner. It's impossible to imagine a story like this being as lavishly produced today. The cast is attractive and capable, with Irene Dunne (beautifully gowned and coiffed throughout) more than holding her own amidst a virtual platoon of marvelous British actors and actresses. The ubiquitous Frank Morgan manages to be minimally irritating; in fact he's quite credibly effective as Dunne's irascible American father. And even Herbert Stothart, whose scores often sound rather syrupy and intrusive to these ears, provides one of his best accompaniments to a story that spans decades and quite a gamut of emotions. Those whose attention spans haven't been stunted by the fragmented way we receive so much information and entertainment today should find this a rewarding example of how cinema audiences of several decades ago were respectfully treated by the Hollywood studio system at its professional best.