2hotFeature one of my absolute favorites!

BroadcastChic Excellent, a Must See

SincereFinest disgusting, overrated, pointless

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Martin Bradley 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.

worleythom Come and Get It. 1936.It's a horrible story. Married 50-something proposes to 20-year-old daughter of the tavern singer he jilted to marry his boss's daughter for her inheritance. It's slimy and unpleasant to watch. Also too long at nearly 2 hours.Walter Brennan does a good job as the Swedish sidekick. A fine actor who had a 50-year acting career. The logging footage is impressive: big stacks of massive logs rolling to the river.

Ken West 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.

wes-connors Portly Wisconsin lumberjack Edward Arnold (as Barney Glasgow) is planning to compound logging success by marrying the boss' daughter. But, while out boozing with Swedish-accented pal Walter Brennan (as Swan Bostrom), he meets fetching saloon songstress Frances Farmer (as Lotta Morgan). Singing "Aura Lee" (which provided the melody for Elvis Presley's "Love Me Tender") and impersonating Marlene Dietrich, Ms. Farmer draws her share of lusty glances, but falls for Mr. Arnold. Although Arnold is as taken with Farmer as she with him, he resists her, and goes through with his safe, business-enhancing marriage to Mary Nash (as Emma Louise Hewitt). That leaves Farmer free to marry the likewise smitten Mr. Brennan."Yumpin' Yimminey!" Ignore appearances, and believe twenty-three years pass… The original "Lotta" has died, but Brennan is father to a second, less Dietrich-inspired "Lotta" (also played by Frances Farmer), who is as fetching (understandably) as her mother. An older Arnold confounds family (especially his wife) and friends by falling in love with young Miss Farmer all over again. Alas, she prefers Arnold's handsome son, Joel McCrea (as Richard Glasgow). Meanwhile, pretty daughter Andrea Leeds (as Evvie Glasgow) irks daddy Arnold by dating handsome "union" worker Frank Shields (as Tony Schwerke), the real-life tennis pro who grandfathered pubescent sexpot turned actress Brooke Shields. (Tennis, anyone?) "Come and Get It" is somewhat miscast, often directionless, but occasionally interesting.**** Come and Get It (11/6/36) Howard Hawks, William Wyler ~ Edward Arnold, Frances Farmer, Walter Brennan