Jeanskynebu the audience applauded

Noutions Good movie, but best of all time? Hardly . . .

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.

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Edgar Allan Pooh . . . because it includes Steve Bannon's entire Breitbart Game Plan for the 2016 U.S. Rigged Election. Unearthed by Red Commie KGB Chief Vlad "The Mad Russian" Putin, KEEPER OF THE FLAME gave the wily Russian the winning playbook to share with his quarterback Bannon as a word-for-word playbook for establishing a U.S. Fifth Column in a nefarious plot hatched up for KEEPER OF THE FLAME in the early 1940s to enable America's "Enemies Within" to bamboozle at least 37% of our Nation of Sheep by pulling the wool down over the eyes of the ONLY voters who are counted (because they've bought up all the guns). As Katharine Hepburn's widow "Christine" spills to Spencer Tracy's investigative journalist "Steve" beginning at 1:31:10, her late devious Fascist husband "Robert's" plan was to "play hate against hate" and destroy every U.S. Democratic Institution until Fascist Dictator Robert was had his foot on America's throat. Putin merely had to substitute a failed casino operator\fraudulent "university" founder\self-confessed sex pervert\thrice-married "star" of an Emmy-losing "Reality" television show for KEEPER OF THE FLAME's Golden-Tongued War Hero to make "Robert's" dream a Reality. Obviously, the traitorous U.S. Oligarchs bank-rolling Robert grossly OVER-estimated that for which their Red State Nazi Confederate pawns would settle in selling out the unarmed American Majority.

Matthew Kresal It can be surprising sometimes how films can be overlooked and forgotten about. Keeper Of The Flame from 1942 is a prime example of that as it has faded into obscurity despite featuring one of Classic Hollywood's best known couples in the form of Spencer Tracey and Katherine Hepburn. It was only when clips of the film were featured in an episode of Oliver Stone's The Untold History Of The United States that I even heard of the film for the first time. One can only hope that its featuring in Stone's series might go some way to bring the film back into the light as it deserves far more than the obscurity than it seems to have languished in.For one thing, it's quite an intelligent thriller. Tracey plays a journalist freshly returned from the war in Europe who decides to write a biography of the recently deceased and immensely popular former soldier Robert Forrest. Meeting Forrest's widow (Hepburn) and those immediately around him at his massive country home. For much of its length, Keeper Of The Flame is a cross between a Gothic tale and a mystery novel with a large, imposing house, Forrest's secretive associates, and secrets apparently buried as the ghost of Forrest's life hangs over the house. There is a strong sense of foreboding throughout which serves the film well.Which leads to the ending where the film shifts gears. There are hints of the truth laid throughout the film about Forrest's activities and the kind of literal hero worship he inspired in people (such as young Jeb) and it's in the final minutes that it's revealed. It's something that makes the film standout from many films of its time and perhaps even since as the film touches upon the little talked about encroachment of fascist leanings during the years leading up to World War II. Indeed, one might be forgiven of thinking about the little known Business Plot from the mid-1930s. All of this makes Keeper Of The Flame an early political thriller and a finely made one at that.Coming out of the Hollywood Golden Age, it's a prime example of what studio film-making could produce. The performances across the board are solid from Tracey and Hepburn on down. Despite the famous love affair between the two, the film wisely doesn't play it up though there is no denying the chemistry between them that is funneled into quite an interesting little relationship here leading to a powerful final scene with Hepburn delivering a lengthy monologue. The supporting cast is strong as well ranging from Richard Whorf as Forrest's aide, Howard Da Silva as the groundskeeper, Margaret Wycherly as Forrest's mother, and Frank Craven as a somewhat cynical local doctor. The production values are solid as well including some moody cinematography William H. Daniels which highlights some of the more Gothic elements of the film and some good special effects work for the era.Which isn't to say that the film is perfect. As much as I praise the plot and the writing above, the writing is also part of the film's few issues. Not so much in the plot but in the dialogue. Made early on during America's involvement in World War II, there is a certain preachy quality to some of the film's moments, especially when it comes to the scenes that Tracey's character shares with Darryl Hickman's Jeb. Perhaps it's just old fashioned patriotism showing through, a product of a "simpler time" but given what the film's ending suggests about such attitudes, it's something that stands out like a sore thumb at times. It's a flaw though most certainly not a fatal one.Keeper Of The Flame is a film that has languished in obscurity undeservedly. It's a fine mix of the Gothic with the political thriller genre, the latter of which it is perhaps an early example of. It is also a fine product of Hollywood's Golden Age which despite some of the flaws that it has in terms of its writing don't serve to seriously diminish what is otherwise a fine piece of work. Perhaps, with the film's ultimate message, it's time for it to be rediscovered by a new generation.

edwagreen During the war years, the theme of fascism trying to get a hold in America is depicted in this film.An American hero dies in a car accident,and in trying to write about his life, reporter Spencer Tracy discovers some very interesting but troubling facts about the man, Robert Forrest. Along the way, he has to deal with the man's mysterious wife, Katharine Hepburn.Darryl Hickman is effective as the child who cries and whines about not being able to warn the guy about the weakness of the washed out bridge where the crash occurred.The film often is brooding and is hurt by the fact that it basically takes place at the mansion where the deceased lived with his wife.Richard Whorf steals the show as the fascist's secretary, willing to commit mayhem to silence those discovering what has been going on.

Panamint The propaganda content is routine for WWII. It is anti-Fascist, but with no new or exciting aspects. For example, the Fascist lackey "Kerndon" meets a routine, unspectacular end right on cue after he learns that Spencer Tracy's character is about to uncover something. In fact, there is a routine-ness to everything here. The strong patriotic message was clearly intended to dominate this film. This is a case of a meticulous director delivering a dominant message, and these factors steamroll over everything else.Katherine Hepburn of course is above-average in her performance, but is overly subdued. Her character has some depth, but as an actress it appears that the director or someone has tamed her natural vibrant acting style. Please don't misinterpret this comment- she is fascinating as always and well cast in the role. I believe that her performance was subordinated to the dominance of the message.Spencer Tracy gives a strong, believable performance. His character, however, is quite one-dimensional and relentless. Thats OK since he is supposed to be a super-patriot which is understandable in a time of war. It might have been seen as inappropriate for Tracy to have added much nuance here. Very fine black-and-white cinematography and first-rate production values. Good supporting performances. Despite these virtues, the film overall is somewhat plodding. It does have mystery, but lacks much that is spontaneous or original. For an exciting WWII espionage film with a similar plot and propaganda message, you can view the highly acclaimed "Foreign Correspondent" (1940). If you contrast the two films you will see the points I am trying to make, far more distinctly than I can write them. You could also view "Watch on the Rhine" (1943) wherein the performers and writing are allowed to shine with equal brightness to the strong propaganda message.