Noteworthy for earning character actor Walter Brennan the first of his three Supporting Actor Oscars, the first year the Academy bestowed the award, this average drama also earned Edward Curtiss his only nomination for Editing. Samuel Goldwyn produced this screen version of the Edna Ferber novel which was adapted by Jules Furthman and Jane Murfin. The producer had to replace director Howard Hawks with William Wyler over storyline disagreements despite the fact that Wyler was still working on Dodsworth (1936) (also for Goldwyn); Richard Rosson directed the film's spectacular logging sequences.The story's about a tough logger boss, Barney Glascow (Edward Arnold) who treats his men to all the food and liquor they want after they bring the logs to the mill, where it's cut into lumber. Barney's best friend is Swan Bostrom (Walter Brennan). The two meet a beautiful singer named Lotta (Frances Farmer), and Barney makes a play for her before he's reminded that his boss Mr. Hewitt (Charles Halton) had promised him a partnership in the timber business if he marries his homely daughter Emma Louise (Mary Nash). Later, Lotta marries Swan.Some 20+ years later, Barney and Emma Louise have two grown children, an independent thinking son named Richard (Joel McCrea) and doting daughter named Evvie (Andrea Leeds). Richard thinks his father's practice of clear cutting without replanting is irresponsible and has other ideas that Barney rejects; Richard and Evvie's beau Tony (Frank Shields) think there's a future in paper cups. Barney goes to visit Swan, now a widower, and discovers that his old friend and lost love Lotta had a daughter, also named Lotta (and played by Farmer), that's the spitting image of her mother. He is smitten once again and his financial position enables him to spoil Swan, his niece Karie (Mady Christians), and Lotta; Barney insists on paying for Lotta's education. Naturally, Richard sees what's going on and falls for Lotta himself. Eventually, a conflict between father and son enables Barney to realize that Lotta sees him as an old man, and loves Richard.

This is an excellent film, and one with an interesting history you should read before viewing it (check out Wikipedia!).According to Wikipedia, when Howard Hawks began directing it, the story was about the rape of the land by a soon-to-be timber baron. Producer Samuel Goldwyn wanted it to be about a timber baron who is involved in a romantic triangle with his son and a young lady. Goldwyn won, of course, but had to fire Hawks and replace him with William Wyler. I think Goldwyn made the right decision, although both themes are well-covered.The beginning of the film is very interesting because of all the scenes on location in Idaho (not the northern mid-west where the film is set) of timber processing from the mass cutting down of trees, to their transport (before trucking), to their processing. Watching the excellent REAL footage, I kept thinking how industry would rape the land back then.Then the film switches more to the romance angle of the film, which is quite riveting as the timber baron turns into a dirty old man who makes a fool of himself, particularly after the son falls (reasonably) in love with the same young lady.The father/timber baron was supposed to be played by Spencer Tracy, one of my very favorite actors. And, he would have been excellent in it, but to be honest, Edward Arnold is perfect in the role, and it is a good reminder that Arnold was once a top name in the film industry, before his weight led him (apparently happily) into more character roles. The son is played by Joel McCrea, and although his role is clearly secondary, he does a fine job in a key role. The female interest is Frances Farmer, and may I say I don't get it. I was not impressed by Farmer at all, and from my perspective she is the one defect in the film. It is interesting that she plays both a woman and the woman's daughter. Walter Brennan has always been one of my favorite character actors, and this role brought him his first (and the first) Oscar for supporting male actor. However, while I still enjoyed his performance, I wasn't quite convinced of his Swedish accent here.While the theme of the rape of the land got sidelined, it doesn't disappear from the film altogether, but, in my view, the story of the emotional fall of a rich and powerful man is far more interesting.Highly recommended.

What a great surprise! This is the only Frances Farmer movie I have seen, and I have never seen Edward Arnold play such a multi-dimensional character -- and how well he does it.So many great moments: The first Lotta first singing Aura Lee in the saloon, the bar-room fight, the first time Barney sees the young Lotta, the lovely quartet of "The Saucy Little Bird in Nelly's Hat", the taffy scene . . . and many more.But what I enjoyed the most was the dynamics between the characters: dynamics beautifully written and flawlessly executed. Barney' clever wooing of Lotta I, the genuine friendship with Swan, the tension with his son (even before the triangle develops), the camaraderie with his daughter, his stoic patience with his wife whom he married for money -- all of these were richly done but with taut understatement. Even the few scenes with his secretary are so neat: exuding the subtle tension of two stiff wills who don't need to articulate the ways in which they need each other.Son Richard too, (played by Joel McRaea who seems to get short shrift in some reviews here), has some fine interplay with other characters. The taffy scene for sure. Also the office scene where Josie the secretary, cool-as-you-please, plants the suggestion about his father and Lotta II. And what about that little give-and-take with his mother, when at breakfast he challenges her as to whether she "ALWAYS" addresses her husband as "Mr. Glasgow"? No need for a nudge-wink -- just a quick look to complement the deft script.Frances Farmer as the 2 Lottas is stunningly gorgeous, obviously, but that does not preclude her performance from keeping up with the others. She makes believable how Lotta I succumbs to Barney's blandishments, and her reaction when she is told that he has deserted her is almost cutting. As Lotta II, her ambiguous response to Barney's advances is perfectly done and contributes to the ongoing undercurrent of tension that I found pervasive throughout.Yes, Walter Brennan's Swedish accent seems a little much, but never having talked to a Wisconsin Swede, who am I to judge? More important is, again, the dynamics of his character Swan with the other principals, such as the painfully delicious scene in the saloon when he tries to get a word in, edgewise, as Barney makes his moves on Lotta I. Beautifully written, beautifully executed. Partly because it was a surprise, I admit to being blown away by this 73 year-old movie, and it gets a rare "9" from me.

"Come and Get It!" (1936) Richard Glasgow is busy proving his worth in his father's lumber empire. That is proving difficult. Daddy's not interested in replanting and replenishing the land. He has a hard time accepting Richard's new ways and product inventions.On top of that, Father (Edward Arnold) and Richard (Joel McCrea) are vying for the love of the same young woman, Lotta (Frances Farmer). That is also proving difficult. Timber Baron Barney Glasgow loved her mother, Lotta, but he chose to marry the boss's daughter (who is still living). And that move brought him the timber company.Lotta married Barney's best friend Swan (Walter Brennan) and they had young Lotta. She's her mother's spitting image. Now son Richard is interested in Swan's daughter and she in him. They make a lovely couple. Needless to say Barney, doesn't like this arrangement. He's in love. Well, like they say, "There's no fool like an old fool." It's not a great movie but it and the cast is good and there are lessons to be learned. See it if you get a chance.