Claysaba
Excellent, Without a doubt!!
AshUnow
This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.
Bob
This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.
lasttimeisaw
Elia Kazan's reverberating if under-celebrated debut feature, adapted from Betty Smith's 1943 eponymous novel, A TREE GROWS IN BROOKLYN takes a closer look on a second generation Irish-American family in the year of 1912, dwelling in their cramped tenement apartment in Brooklyn, struggling with immiseration and bereavement. If the synopsis sounds depressing, conversely, the film is nothing if not life-affirming, Kazan attests to be a top-drawer storyteller with his unobtrusive camerawork, snaking dexterously within a two-by-four space, the narrative is unfolded from the POV of Francie (Garner), a sensitive, studious and impressionable 13-year-old girl, who develops a quasi-Electra complex towards her buoyant father Johnny Nolan (Dunn), at the expense of a small chasm between her and the more matter-of-fact, diligent housewife mother Katie (McGuire). The Nolans is a happy family, Francie also has a younger brother Neeley (Donaldson), except for their hand-to-mouth existence, because Johnny is anything but an adequate breadwinner, his forte is to bring contagious elation to those around him, with his chirpy singing and devil-may-care spirit, a pipe dreamer afflicted by intemperance, he is more contented in dreaming up what he will do when his ship comes in, than actually actuating it, alas, Johnny's American dream never actualizes, but this doesn't make him a lesser human being, on the contrary, he is a generous giver, lading out merriment whenever, wherever, spontaneously, only the sad truth is that he is not up to raise a big family, which flags up why contraception is more an imperative than an immoral contraption for humans. James Dunn wins an Oscar (beggar belief this is the film's sole Oscar nomination!) for his brimful, simpatico earnestness beautifully corroded by a telling patina of pathos.Katie, on the other hand, is the hinge of the household, husbanding every cent (but regularly ponies up their weekly premium nonetheless), and her disenchantment of a rosier future starts to gnaw at her when it clocks to her that it might never occur, yet, it is the thought that she loves Johnny for who he is, conciliates her and puts her on her mettle, in the end of the day, it is the bonhomie the family basks in really matters, Dorothy McGuire wholeheartedly avails herself of Katie's plain demeanor and modest rig, and pours out her ambivalent emotion with unrivaled assurance and veracity, the final reconciliation between her and Francie strikes such a profound chord that it is an oceanic remiss her low-key brilliance is stiffed by the Academy here, among many an awards-worthy achievement of this refined gem. Serendipitously, child actress Peggy Ann Garner is conferred with a special Oscar for her central performance, in fact, the whole movie is her Bildungsroman and Garner makes good in both those emotion-charging demands and those plumbing into Francie's more infantile dispositions, as in completing for parental attention from Neeley, Ted Donaldson also shines with a naturally cavalier mien that largely countervails Garner's more precocious headspace. Last but not the least is aunt Sissy, Katie's elder sister, played by Joan Blondell with snazzy verve and pizzazz, thrice married and naming all her hubbies Bill, she is by any rate, a different kettle of fish from Katie, yet the exemplar of a kid's favorite aunt, a happy-go-lucky counterpart of Johnny, but free of livelihood worries, a bonus to be a woman of its time, isn't it?A humane, unassuming drama inculcating precious wisdom of growing up, of calibrating one's life aspect and of finding hope and sunshine in one's darkest moments, if one claims A TREE GROWS IN BROOKLYN is Kazan's best work, most likely, it is not an overstatement.
marcslope
In the mid-'40s, in the midst of producing some uncertain literary adaptations and boring musicals, 20th Century Fox did itself proud with this stirring version of Betty Smith's famous novel. Set in 1912 Brooklyn, it's remarkably atmospheric and un-Hollywood looking, and helped by Alfred Newman's hurdy-gurdy scoring, zeroing in on time and place as few studio movies of the era were able to. The screenplay's an entirely reasonable reduction of the rich novel, and the cast is extraordinary. I've been reading so much praise of Peggy Ann Garner's Francie, and just want to add: She has such a stillness about her, the look of someone who's hearing music no one else can, and she gets deep, deep into the bones of this questioning young girl. James Dunn captures Johnny's dreaminess and too-willingness to fool himself, and Dorothy McGuire doesn't short-sell Katie's hard-to-like practicality. Elia Kazan shoots it with considerable artistry, always putting the camera where it ought to be, and doesn't over-sentimentalize, which would be very tempting with this property. At a leisurely 128 minutes, it has a couple of scenes that could have been cut and a couple more that end inconclusively, but it's a grownup, moving movie that improves with age.
wes-connors
In the early 1900s, working class Brooklyn streets bustle with poor residents aching to earn a living. Spunky 13-year-old Peggy Ann Garner (as Francie Nolan) and her continuously hungry 12-year-old brother Ted Donaldson (as Neeley) collect enough rags to raise nine cents. The money goes to help the kids' struggling family. Penny-pinching mother Dorothy McGuire (as Katie) is a scrub-woman. Sporadically employed father James Dunn (as Johnny) is a singing waiter. Although he is not abusive or violent, Mr. Dunn is a hopeless alcoholic. Still, he has a charming relationship with Garner, encouraging her to hope and dream...When Garner notices a favorite tree is being cut down, Dunn assures his daughter the tree will grow back. Early in a series of episodic events, the family learns free-spirited aunt Joan Blondell (as Sissy) has married again. Her sister's multiple-marriages and her husband's drunkenness cause Ms. McGuire concern. Keeping both children in school becomes difficult. Although it involves fibbing about their residence, Dunn enrolls Garner in a finer school. As you might expect, she decides to become a writer. Soon, the family must move into smaller quarters. Their living situation becomes more unmanageable. Then, mother McGuire finds herself expecting...Based on a Betty Smith's classic novel, and guided superbly by first-time feature film director Elia Kazan, "A Tree Grows in Brooklyn" transplants itself to the screen in extraordinary style. The Twentieth Century-Fox production team makes the picture artfully squalid. As the young heroine, Garner received much praise; she won "Film Daily" and "Oscar" awards for juvenile acting. Separating performers under 18 years of age is not done much anymore, sadly. Additionally, Dunn won an "Academy Award" for his kindly alcoholic father. In the "New York Film Critics" poll, Garner (#4) and Dunn (#8) did well in the lead categories...Watching the film today, one is equally struck by the performance of mother McGuire, relatively ignored by those giving out acting awards at the time. The focus is clearly on daughter Garner - but the central relationship and conflict is not between father and daughter; it's between mother and daughter. McGuire and Garner have an unspoken struggle which culminates in an cathartic scene, with mother lying perilously close to death, late in pregnancy. Garner blames McGuire for all the world's ills, including Dunn's alcoholism. It's a war between fantasy and reality, optimism and pessimism, hope and fear...When mother and daughter come to terms with each other, Garner's "Francie" can grow inside and out.********* A Tree Grows in Brooklyn (2/28/45) Elia Kazan ~ Peggy Ann Garner, Dorothy McGuire, James Dunn, Joan Blondell
Anthony M Power (ampwerx)
Movies such as this continue to encourage me to watch the 'ole Black and Whites. The purity and true reflection of family values permeate this picture. It transcends time and place and represents the force of the human spirit to overcome all obstacles; big and small. The impression that stays with me the most is the relationship between father and daughter; there is a special bond that exists on pure love. As hard as things got Katie managed to provide a good home and the children were never worse for wear. She kept me entranced to see through her eyes. Though Johnny has human failings, his love of family is the lodestone of his personality and shone through to all he met. He made you feel good inside just by being around him.
