This movie is amazing for its depiction of one of America's worst natural disasters, but too little attention is given to the aftermath of the devastating 1889 flood.
The film squanders precious time on the love dilemma of square-jawed Tom O'Day (George O'Brien) -- does he cast his lot with wealthy beauty Gloria (Florence Gilbert) or plucky homegirl Anna (Janet Gaynor)? Yawn.
Disaster movies never cease to personalize their stories this way, but this production particularly errs in this regard.
We're shown that the movie makers can conjure the flood's aftermath -- see those people coursing through floodwaters toward debris that's on fire -- but it's mere minutes till the film goes happy-ending with an (albeit moving) portrait of Tom, Gloria, and their boy. Worse, the flood's reputed cause is murkified, with blame shifted from weathy Pittsburgh industrialists who wanted a dammed lake to greedy fictional timber barons.
Although the narrative here has its strengths, the plot has holes. Why does Anna go into the night to the home of a corrupt timber executive? And principled Tom -- why the rush to the altar, with storm clouds gathering and dam about to burst? Makes no sense at all.
Homely Johnstown is indeed hallowed ground. In many pass-throughs via Amtrak, I've been humbled to observe a town trapped by mountains and girded by implacable, black stone walls.
TCM aired this film's world TV premier. Amidst a myriad of opportunities for movie viewing, the channel remains my go-to, private movie festival.
The film squanders precious time on the love dilemma of square-jawed Tom O'Day (George O'Brien) -- does he cast his lot with wealthy beauty Gloria (Florence Gilbert) or plucky homegirl Anna (Janet Gaynor)? Yawn.
Disaster movies never cease to personalize their stories this way, but this production particularly errs in this regard.
We're shown that the movie makers can conjure the flood's aftermath -- see those people coursing through floodwaters toward debris that's on fire -- but it's mere minutes till the film goes happy-ending with an (albeit moving) portrait of Tom, Gloria, and their boy. Worse, the flood's reputed cause is murkified, with blame shifted from weathy Pittsburgh industrialists who wanted a dammed lake to greedy fictional timber barons.
Although the narrative here has its strengths, the plot has holes. Why does Anna go into the night to the home of a corrupt timber executive? And principled Tom -- why the rush to the altar, with storm clouds gathering and dam about to burst? Makes no sense at all.
Homely Johnstown is indeed hallowed ground. In many pass-throughs via Amtrak, I've been humbled to observe a town trapped by mountains and girded by implacable, black stone walls.
TCM aired this film's world TV premier. Amidst a myriad of opportunities for movie viewing, the channel remains my go-to, private movie festival.