A Tree Grows in Brooklyn

source: A Tree Grows in Brooklyn

I consider this film to be a masterpiece for several reasons: the performances, the direction (Kazan's first film!), the screenplay which depicts with great insight the triangular relationship of a charismatic but dysfunctional alcoholic with his favorite daughter and his increasingly estranged wife. But I go back to the film again and again because of its cathartic effect on me. It never fails to elicit a level of crying that no other film does. Obviously I am touched in some personal way by the situations, but the one time I saw this film in a theatre, it wasn't just me: there was a whole lotta weepin goin on! The last forty minutes of the film contain one emotional blow out after another. By the end, one is literally exhausted from the crying. And as I recall, Kazan does it without the use of music to enhance these scenes' effects.

This ranks as one of greatest family film dramas of all time. Meticulous period details to the production, Kazan's outstanding direction and flawless performances by the entire cast make this a sadly neglected masterpiece. It will probably be remade in the next few years into the usual pile of dreck that becomes most remakes. This classic deserves to be seen and embraced, not replaced!

This is one of my top-five all-time favorite films which explains why there is nothing negative I can say about the movie, only the way its star was treated and the absence of a DVD of this (although it was recently released in Europe). GOOD NEWS: 1 - This one of the greatest acting jobs by a child in the HISTORY of motion pictures. Peggy Ann Garner, as "Francie," was incredible. The adults may get top billing but Garner is the show here, start to finish. She is a real pro, not just with her lines but with her facial expressions. If this young girl doesn't bring a tear or two to your eyes, then get some counseling!! She was so impressive that she was given a special Academy Award for her performance: 2 - It''s a powerful story which is a big reason the book, by Betty Smith, has been a best-seller for almost 60 years. 3 - One of Hollywood's more likable guys, James Dunn, is perfect as Francie's father and who could criticize anything Dorothy McGuire did in this film? 4 - Joan Blondell also was a great choice to play the sassy Aunt Sissy. 5 - Ted Nolan is very funny as Francie's younger brother. Notice the kid is eating in almost every scene. He adds needed humor to the movie. He hardly gets a notice when people discuss this film, and that's unfortunate. BAD NEWS: 1 - Hollywood ignored Garner's acting talent shortly after this film and ruined what could have been a tremendous acting career. 2 - Fox Studio Classics announced that this was finally going to be out on DVD on Feb. 22, 2005, and then yanked the disc at the last minute with no explanation. So, we are still waiting to see a better print of this in the United States, although the VHS versions are decent.

I watched this movie for the first time last evening and wanted to see what made this an Oscar winner.... After watching the movie, I am dumbfounded. I saw an average movie, with average acting at best. At points the acting bordered on amateurish. I began thinking that Francie had some real mental issues. And the brothers character was horridly acted, probably miscast, wrong accent, etc.... That being said, I did enjoy the scenes sets, seeing how modestly the people lived, how they dressed, etc. As for it being a good movie for families, I am not so sure. Showing an alcoholic as a good character, someone who lies to get their child into a different school, is not my idea of family values and the coldness of the mother leaves much to be desired. I also thought that the mothers general attitude toward Francie was not healthy and bordered on usury. All in all an average movie, one that should be seen.

Films about the post Civil War, pre World War I years in urban America usually are nicely entertaining with a warm nostalgic glow about them, liberally sprinkled with the music of the time. One of the biggest marketeers of that kind of film was 20th Century Fox. So it's a bit of a surprise that Fox would market a film like A Tree Grows in Brooklyn. The nostalgia is there, but there's a large slice of reality in this film about life growing up in the Williamsburg section of Brooklyn pre World War I. Maybe because a new director, named Elia Kazan who would make his mark directing dramas of social significance was in charge here. It was his feature film debut as a director, so Darryl Zanuck didn't give Kazan a name cast to work with. Some were up and coming, some were coming back, and some were fading out. Yet the mix was great, not a bad note in the cast. I also have to say that I liked Kazan's use of the hurdy-gurdy as background music. Rings on Her Fingers and Ciri-biri-bin were never played better. This was Dorothy McGuire's third feature film and the role of Katie Nolan was hardly a glamorous one. But she's perfect as the mother who keeps her family together, but loses and regains some humanity in the process. She was an underrated actress in her time, always gave great performances and was never fodder for the scandal sheets. Joan Blondell and James Dunn were respectively cast as McGuire's sister and husband. Blondell, who had sparkled in Warner Brothers musical films and films of social significance was a perfect fit for Aunt Cissy. With this role she transitioned nicely into character roles and never lacked for work. The career of James Dunn is a puzzle. He was an ex-vaudevillian of good talent who had slipped into B Films by the time A Tree Grows In Brooklyn was made. He won a richly deserved Oscar as Johnny Nolan, singing waiter and would be star. Maybe his dreams outraced his talent, but Nolan had every reason to dream. What's not remembered is that folks who would have been Dunn's contemporaries like Eddie Cantor and Jimmy Durante started out that way. He was a man with the talent, but you need the breaks as well. Dunn's scenes and relationship with daughter Peggy Ann Garner pivot the film. His character of Johnny Nolan is not unlike Gaylord Ravenal in Showboat if he had stayed around until his daughter was beginning adolescence. That Oscar should have revived Dunn's career, but didn't. He had very much the alcohol problem that his character in the film had. Ironically he's remembered today for supporting Shirley Temple in three of her films in the thirties than this Oscar winning, best supporting actor performance. But maybe those films were good training for this role. Neither Dunn nor Garner upstage the other. The best acted scene in the film is when McGuire goes into labor and Garner is the only one around. Back in those days before medical insurance, people had their babies at home and infants died, due to lack of good post-natal care. In fact prior to this scene, Joan Blondell cashes in an insurance policy so she can splurge on the cost of a hospital because previous infants of her's had died. Garner is a bright girl and her father encouraged her to dream big as he did. She was daddy's little girl and her relationship with mom was not all it should have been. As mom goes into labor and they wait for Blondell to arrive, they start confessing to each other. Garner realizes the sacrifices mom has made and McGuire realizes how much she's stifled her daughter's dreams. It's a wonderfully played scene and you're made of stone if it doesn't affect you. Rounding out the cast is Lloyd Nolan as the neighborhood beat cop, James Gleason as a tavern owner and Ted Donaldson as Garner's younger brother. I should also mention that Peggy Ann Garner got an honorary Oscar as most promising juvenile performer of 1945. She had a decent career, but nothing ever as good as A Tree Grows In Brooklyn.

I have been watching films on TV since I was a child in the 50's. Whether the film is black and white or in color is irrelevant, as far as I am concerned. Admittedly, color is nice for a ballroom scene, or showing stately grounds and lovely foliage. I have many videos in my collection, and most are black and white as I do prefer 30's and 40's films. I feel that the important thing to note is the content, credibility of the actors and their acting prowess supersedes all else. I would say this is true in this case. When I am interested in a film, I really do not care if there is color. As a matter of fact, I have just ordered the video from Movies Unlimited. James Dunn, Dorothy McGuire, Peggy Ann Garner, Joan Blondell, etc. did a fine acting job. This is an overlooked gem I saw on TV in the 60's.

If I ever go to that deserted island with a VCR and ten movies, this would be one of them. This is one of those rare cases when the movie is nearly as good as the book. Peggy Ann Garner perfectly embodies the role of Francie Nolan, and her brother Neely is around to provide the comedy, and he's very funny. Of course, McGuire, Dunn and Blondell are great, but I enjoyed the children the most. Look for a very young Ruth Nelson, who plays a sympathetic teacher of Francie - the scene between them is very memorable. Overall I can't say enough great things about this movie - it should be seen by anyone & everyone.

This one breaks my heart every time I have seen it. Dorothy McGuire, Peggy Ann Garner, James Dunn, Joan Blondell and all the rest of the cast, without exception, under Elia Kazan's careful tutelage, render portraits that ring so true one is hard put to think of a film where such ensemble work has been surpassed. It is certainly an example of the Hollywood studio system, then in full flower, providing audiences with an experience that touches the emotions without a hint of sentimentality. Its restraint now seems like an artifact of days long gone, with so much current product catering to audiences who seem to demand nothing but mindless pablum and/or brutal sensation. I've never been able to confine myself to a "Ten Best" list of my own but "A Tree Grows In Brooklyn" would definitely have a place on it should someone ask me to name such a small number of my all-time favorites.

Dorothy McGuire gives the best performance I have ever seen from a lead actress. Period. And the rest of the cast from top to bottom is just about as perfect. Betty Smith's classic American novel not only comes to life, but adds dimension and poignancy, and it all revolves around McGuire's completely vulnerable yet incredibly strong performance. James Dunn deservedly won best actor for the best performance of his career. Other standouts include Blondell, Garner, Gleason, Nolan, Donaldson, and Alexander. The direction is impeccable and the photography makes you feel like you are living right there in turn-of-the-century Brooklyn with them. Not a single mundane detail is omitted or glorified, and none of the difficulties and embarrassments are whitewashed. This may well be the best purely American movie ever made.