Word: robson
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...time is 1885, the scene a farmhouse in the English marshes where aging, rouged Miss Fiske (Isobel Elsom) is enjoying the fruits of hard work in the world's two oldest professions. Her dark, bonneted housekeeper (admirably played by Flora Robson) is saddled with two potty sisters, and tries to billet them on Miss Fiske. When the loonies strew her parlor with seaweed and dead birds, Miss Fiske bids them be off; but being penniless as well as potty, they have nowhere to be off to. In order to give the girls a home, the desperate housekeeper does...
...They are aimed at people who want ideas with their entertainment. Often they are made from second-rate novels with a purpose. Usually they are bores, frequently they are flops. At their best, class pictures can be as good as We Are Not Alone, which Paul Muni and Flora Robson strove (in vain) to bring to life. Or they may be as bad as Vigil in the Night. Or they may be pedestrian and pretentious like...
...chance to act in mufti for a change, instead of doing one of those great impersonations (Pasteur, Zola, Juarez) in which he is aided by overmetic-ulous makeup and fussy mimicry. The doctor spends most of his spare time trying to keep his strict, pious, headachy wife (Flora Robson) from nagging their high-strung son into a nerve clinic. When the wife agrees to employ an Austrian dancer-patient of the doctor's (Jane Bryan, with a phony Viennese accent) as the boy's companion, all their troubles seem about over...
...picture, directed by Edmund Goulding, does not owe its excellence to Paul Muni alone nor to be the moving story which it portrays. The entire east plays together well. Jane Bryan as the Austrian danseuse who falls in love with the lovable country doctor played by Muni, Flora Robson as his puritanical wife, Raymond Sebrin as their delicate child, and the tragically simple maid played by Una O'Connor: all combine to present a well acted production. Not one of them could really be given an ounce more credit than another. In addition to the acting, there is a genuine...
...through the repetitious love scenes, mopes and moons through her my-manic depressions. For all her unerring aim with a goblet, the scene in which Bette Davis smashes mirrors because they reflect her homely makeup falls far short of the similar scene in Fire Over England which Flora Robson terminates with her baffled, weary: "I will have no more mirrors in any room of mine...