"The White Cliffs of Dover," even the title reeks of warmth, home, longing. A book-ended story of an American woman reflecting on her life in England; rich velvety cinematography of lush comfortable interiors; friendly familiar faces from countless films viewed over a lifetime; a sentimental tale of love, duty, and loss. Clarence Brown's 1944 dramatization of Alice Duer Miller's poem has the makings of an unforgettable classic for rainy afternoons, cuddled under a blanket on the sofa, and much of the film fulfills that cherished goal.
Unfortunately, some dated clutter spoils the show. A voice-over narration reads passages from the poem and quickly wears thin. The stereotypes that contrast brash, over-confident Americans with duty-bound, class-conscious English are tiresome and should be relegated to the dustbin. The overt World War II propaganda is strident, although by fade out, viewers may be ready to rush out and buy war bonds. If Brown could have produced a director's cut that eliminated the now-dated messages and focused on the compelling family saga, an engrossing movie would have emerged. Such annoying episodes as the unexplained visit of two young Hitler Youth, the bizarre assumption that French villagers know the English lyrics to the Star Spangled Banner, and the myth that only American marching bands were sent overseas should have been relegated to the cutting room floor when the war ended. "Important Message" is written in capital letters throughout, and the message obscures a warm decent story.
The ever-dependable Irene Dunne is the young American woman who arrives in England for an intended two-week stay and remains for a lifetime. As in fairy tales, Dunne meets and marries a handsome wealthy aristocrat and expects to live happily ever after, but two world wars intervene. MGM brought out the studio's finest supporting players to populate the cast: C. Aubrey Smith, Dame May Witty, Frank Morgan, Gladys Cooper. The film's glittering assemblage also included some of MGM's brightest young contract players: Van Johnson, Peter Lawford, Tom Drake, June Lockhart, Roddy McDowall, and the already enchanting Elizabeth Taylor. In short, "The White Cliffs of Dover" had everything, except a sense of subtlety in its wartime propaganda. Despite the lapse, the movie remains worthwhile and generally entertaining, although repeat viewings could be tough going.
Unfortunately, some dated clutter spoils the show. A voice-over narration reads passages from the poem and quickly wears thin. The stereotypes that contrast brash, over-confident Americans with duty-bound, class-conscious English are tiresome and should be relegated to the dustbin. The overt World War II propaganda is strident, although by fade out, viewers may be ready to rush out and buy war bonds. If Brown could have produced a director's cut that eliminated the now-dated messages and focused on the compelling family saga, an engrossing movie would have emerged. Such annoying episodes as the unexplained visit of two young Hitler Youth, the bizarre assumption that French villagers know the English lyrics to the Star Spangled Banner, and the myth that only American marching bands were sent overseas should have been relegated to the cutting room floor when the war ended. "Important Message" is written in capital letters throughout, and the message obscures a warm decent story.
The ever-dependable Irene Dunne is the young American woman who arrives in England for an intended two-week stay and remains for a lifetime. As in fairy tales, Dunne meets and marries a handsome wealthy aristocrat and expects to live happily ever after, but two world wars intervene. MGM brought out the studio's finest supporting players to populate the cast: C. Aubrey Smith, Dame May Witty, Frank Morgan, Gladys Cooper. The film's glittering assemblage also included some of MGM's brightest young contract players: Van Johnson, Peter Lawford, Tom Drake, June Lockhart, Roddy McDowall, and the already enchanting Elizabeth Taylor. In short, "The White Cliffs of Dover" had everything, except a sense of subtlety in its wartime propaganda. Despite the lapse, the movie remains worthwhile and generally entertaining, although repeat viewings could be tough going.