vincentlynch-moonoi I sort of chuckled when I read a few of the other reviews. I didn't know anyone realistically expected biopics from the 1930s through 1950s to be accurate. I'm not sure I've ever seen one that was. What I realistically expect is to sometimes find biopics from that era to have a shade of truth and some good acting. From that perspective, this is pretty darned good! Frederick March is far from one of my favorite actors, but as he matured I found him to be quite good, and in this film, excellent. Most of the supporting actors do fine, including Alexis Smith, Alan Hale, and the always welcome Donald Crisp. The production values are surprisingly good, although as one reviewer pointed out, the ship Twain piloted couldn't have possibly had the gambling hall depicted. As one reviewer pointed out, the details of Twain's bankruptcy were botched, but in terms of being an entertaining movie, it was close enough to keep the plot moving forward. If you want an accurate biography, this isn't it (although it's certainly closer to the truth than, for example, the Cary Grant biopic of Cole Porter).

Sean H-. (cornflakeboy20) Of course, this biography of Mark Twain will be of interest to any admirer of the man - which is why I rented it - or to any fan of Fredric March, who gives a fine performance as usual...however, the complexity and objectivity we'd expect of a modern biography is sorely lacking. Sure, some of Twain's less successful moments and un-PC jokes are depicted in this movie, but the overall tone is 100% laudatory. This movie indulges in several clichés of the biopic genre, such as the twirling-newspaper montage sequences, as well as a greatest-hits jokes montage featuring audiences cackling like they're on drugs. Many plot points seem manipulatively sentimental, and the performances by some supporting players are mawkishly earnest and come off as laughable to the modern viewer. And - of course - the portrayal of African Americans is, to put it politely, unfortunate. The movie, in order to end on a relatively high note, leaves out some of Twain's later life tragedies and more bitter attitudes he adopted in his old age. Happily, this first big attempt at a Twain film biography was not the last and Twain fans received better film portraits of the author in subsequent years.

krdement Like Samuel Clemens, himself, this film is a great illustration of the Art of Exaggeration. The rough outline of Twain's life is retained as a foundation for greater elaboration. The Calaveras County episode is a perfect example. Would it have had the same impact on us if Twain (Fredric March) had been a mere bystander? Absolutely not! We have a stake in its outcome because HE has a stake in it. Would it have been as funny if Twain's partner, Steve Gillis (Alan Hale) hadn't been responsible for filling the opposing frog full of buckshot? No way; Gillis' responsibility involves us. That Twain has bet on the frog of the opponent, Bret Harte (John Carradine), and lost all their money serves the interests of justice. More importantly, however, it is one more example of the ironic failings of Twain's early life. Having Bret Harte be the owner of the opposing frog is pure genius - a clever homage to another great American author, who was Twain's contemporary. He is played with aplomb by John Carradine, a wonderfully versatile performer, whose earlier career as a character actor is sadly overshadowed by his later career as a stereotypical ghoul.As other commentators have noted, March is phenomenal in capturing the legendary Mark Twain. March is one of the greatest actors in American film history. His performance here is typically nuanced, capturing the dry wit of Twain with understated charisma, and also the pathos of the man in his private life. Brilliant!Alexis Smith is wonderful, too. She had the ability to capture loving, devoted women with a realistic warmth that is never over-sentimental. Besides, she is very easy to look at. (At a similar age, Jody Foster bears an uncanny resemblance to Alexis Smith in this movie. The cameo could easily have been of Foster.)The very personification of the Art of Exaggeration is Alan Hale, here portraying Steve Gillis, Twain's sidekick out west. Somehow in roles such as Gillis he is capable of the greatest of acting paradoxes - delivering exaggerated performances that NEVER seem overacted or hammy. His characters always appear natural, yet larger than life. Offhand it is difficult to think of another actor who accomplished this incredible balance. I would watch ANY movie in which Hale appears.Likewise, comedies of this era seem to be able to strike that same balance - natural, yet larger than life. That is what sets them apart. Later films don't seem to be able to capture the same balance. In attempting to do so, actors just come across as hammy. The Art of Exaggeration in American film, got lost some time in the late 40's. What a shame. Movies like this are the quintessence of that fine art.

Neil Doyle A dull biography of Mark Twain is all Warner Bros. managed to do with this lumbering tale of the great author's progression from riverboat captain to editor to author--all accompanied by some jaunty Max Steiner music that holds the various segments together nicely. But it's still dull stuff.Credit FREDRIC MARCH with at least looking the part--although his heart doesn't seem to be in playing Twain with anything more than superficial likeness. Wouldn't you know ALAN HALE plays his rambunctious buddy--hey, it's a Warner flick. Percy Kilbride and John Carradine get short shrift but at least DONALD CRISP, the great character actor that he is, gets to play a more substantial role.Lovely ALEXIS SMITH is the love interest, as Libby, Twain's sweetheart who becomes his understanding wife. Alexis is so modern looking, even in period films, that somehow her characterization of the loyal wife seems false. But the script is so cliché ridden that even the romance doesn't seem real, not entirely her fault.Instead of being the colorful bio it should be, even events like the frog jumping contest comes off as pure hokum. Twain was the teller of tall tales but apparently the screenwriters weren't able to come up with anything resembling his true spirit.It's a tribute to Max Steiner that he was able to come up with a delightful background score in view of the fact that nothing on screen could have given him the inspiration needed.