What makes it different from others?

It is not only a funny movie, but it allows a great amount of joy for anyone who watches it.

The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

One of the very few occasions when two of Hollywood's greatest directors were given joint directorial credit on a film. "Come and Get It" was co-directed by Howard Hawks and William Wyler though to look at it you might never have guessed. It's entertaining enough but it's also fairly undistinguished despite its cast. Walter Brennan, (just about resisting hamming it up), won the first Best Supporting Actor Oscar for his performance while Edward Arnold gets star-billing for a change, (he's his usual superb self), though it's the great Frances Farmer who just about steals the movie in a dual role, (mother and daughter).It's based on an Edna Ferber novel but with the exception of the 1936 "Showboat", Ferber never did transfer well to the screen, (at least this one isn't dragged out). Gregg Toland and Rudolph Mate were joint cinematographers but again there is nothing here to make you think that. Of course, it is now of historical interest in being one of the few films to feature Farmer in a major role in what was a tragically short career, (she only made 16 films). It isn't much seen today.

Copyright 21 November 1936 by Samuel Goldwyn. Released through United Artists. New York opening at the Rivoli, 11 November 1936. 11 reels. 99 minutes. 1960 re-issue title: ROARING TIMBER.SYNOPSIS: Timber baron rejects saloon girl, but twenty years later makes a play for her daughter.NOTES: Academy Award, Walter Brennan, Supporting Actor (defeating Mischa Auer in My Man Godfrey, Stuart Erwin in Pigskin Parade, Basil Rathbone in Romeo and Juliet and Akim Tamiroff in The General Died at Dawn). Also nominated for Film Editing (won by Ralph Dawson for Anthony Adverse).Goldwyn fired Hawks before the film was completed. Wyler reluctantly took over. Estimates of Wyler's contribution vary from as low as the last 9 minutes to as high as the last 30. It should be easy enough to work out. Toland worked with Hawks, Maté with Wyler. (I don't know who worked with Rosson, but his contribution is not in dispute.)The most exciting scenes are undoubtedly those in the Hawks half — the logging footage directed by Richard Rosson, and the fight at the saloon. Performances are persuasive throughout, but Frances Farmer is outstandingly forceful in her Hawks scenes. Technical credits are likewise marvelously impressive, particularly the sets, costumes, music scoring, and film editing.It is unfortunate that Walter Brennan received an Academy Award, as his hammy, stage-Swedish-accented performance is the only unsatisfactory item in this otherwise wholly engrossing and engagingly poignant domestic drama.William Wyler took over from Howard Hawks to direct the last ten minutes, starting with the employees' ball. The change in both directorial and photographic style is very apparent. Wyler favors a moving camera, and tight reverse angles with inter-cut close-ups and reaction shots. Hawks, on the other hand, employs a much more static style. Along with less camera movement and looser frame compositions, he tends to hold camera set-ups for a much longer time span. The photographic texture in the Wyler sequences is also different, with lower key lighting harnessing more velvety black textures and more romantically lit faces. Acting also changes in perfect harmony with the story. It's suddenly looser and less controlled, which makes a perfect cap for the picture.Edward Arnold is perfectly cast. He's given lots to laugh about (his specialty) and even cry. For once, he has a really meaty star role in a really lavish production. He plays his Barney with virility, conviction and above all, style. I love the rakish way he addresses many of the minor players by their real names.The legendary Frances Farmer gives the performance of her career. Making the most of Furthman's clever, pointed dialogue, she delineates both her roles with a superbly contrasting sincerity, deftly pitching her voice higher for the daughter.Joel McCrea's timing is also spot on. I must also commend Mary Nash's realism as the embittered housekeeper, and Cecil Cunningham's adroit sarcasm as the secretary.Although the picture neatly falls into two sections, 1884 and 1907, the scriptwriters have skilfully ensured there's no loss of continuity or suspense.The music score is also nothing short of superlative. I particularly enjoyed Arnold, Brennan, Farmer and Christians' rendering of the song, "Nelly's Hat."

Howard Hawks and William Wyler direct this MGM classic. Barney Glasgow(Edward Arnold)is an energetic lumberjack stripping the Wisconsin woods in the late 1880's. He will marry his boss's daughter Emma(Mary Nash)even though he loves a saloon girl named Lotta(Frances Farmer). The heartbroken Lotta will marry Barney's best friend Swan(Walter Brennan). In later years, Barney visits Swan finding out that Lotta has died. Not surprisingly, Barney is smitten with Swan and Lotta's daughter also named Lotta, a dead ringer for her mother. As time rolls on rumors spread about the attention Barney is bestowing on the young Lotta. Things get real dicey when Barney's son Richard(Joel Mcrea)also has eyes for the beauty. Who will the alluring Lotta give her real affections to, Barney or Richard? How many hearts will be broken? Farmer is amazing playing both mother and daughter Lotta. Also in the cast: Mandy Christians, Edwin Maxwell, Charles Halton, Frank Shields and Andrea Leeds.

I know all of the history behind "Come and Get It". From the stories about Frances Farmer, and the whole Howard Hawks incident. I know that it's the first film that won the best supporting actor award. I know it's supposed to be a classic.But in the end, it was a story that I just couldn't stick with. Yes, the acting was very good, and the montage of the mills and lumber industry were excellent, but the first forty-five minutes were almost painful, at times. I couldn't stand to see Edward Arnold ( a wonderful actor) stuffed into clothes that were two sizes too small for him( to quote The Honeymooners, "...He looked like two pounds of baloney in a one pound bag). To me, Walter Brennan was incredibly annoying to listen to, with his insulting Swedish accent. And Frances Farmer, while very beautiful, was not that interesting to watch.The confines of the film itself hurt this movie. This could have been a big, sweeping epic like "The Big Country", or "Giant", but as written, it's just not interesting enough.5 out of 10