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Stefan Dangos (Brian Donlevy) immigrates to America from the Czech Republic and works his way up from the iron mines and steel mills to become a great American success story as an industrialist. Register so you can check out ratings by your friends, family members, and like-minded members of the FA community of users. Screening 35mm & 16mm film prints from studio vaults, film archives, and private collections. Due to circumstances beyond our control, the Northwest Chicago Film Society will not be screening films at the Portage Theater.
A leisurely American epic that devotes nearly as much screen time to the insides of automobile factories and steel mills as it does to its narrative, An American Romance stars Brian Donlevy as an ambitious Czech immigrant who works his way up from a lowly factory worker to a wealthy industrialist.
Toronto Film Society presented An American Romance on Sunday, August 4, 2013 as part of Season 66 Raiding the Vaults at the George Eastman House Weekend.
Despite the fact that there is little marquee strength in the person of several proven name stars in this picture, “An American Romance” is bound to create a storm of controversy, based upon its plot and general treatment of labor vs.


One of Metro’s greatest efforts (execs state that the picture was two years in the making and cost over $3,000,000), this film will zoom Brian Donlevy into the constellations as one of Hollywood’s most important actors.  It’s his baby from opening to closing, and his performance as the Czech immigrant who runs the gamut from poverty to become a wealthy industrialist, is one of the most understandable, warm and neatly woven portrayals to hit the screen in many a moon.
Once “Romance” starts moving, it proves to be a mighty appealing picture.  The support given Donlevy by Miss Richards, Walter Abel and John Qualen adds much to the enjoyment of the film, especially the job done by Abel.
A wonderful opportunity, plus considerable money and time, were spent by King Vidor and Metro in attempting to vision on the screen the vast vitality of American industry in Mr. The great crisis in the picture comes when Steve Dangos manfully holds out for the open shop and laissez-faire initiative.  It’s “An American Romance,” Just as the title says. The African-American Romance genre promises sexy, emotional, heartfelt, and romantic stories that reflect the values and dreams of African-American culture. Cut from the same cloth as hyper-enthusiastic, pro-American films like This Is the Army, An American Romance may as well have been an industrial film to boost morale at General Motors, and we mean that in the best possible way: lush Technicolor photography to show off American industry at its most thrilling, mixed with acting so sincere you’d think you were in a Coronet Films educational.
Okay, Donlevy’s accent may be about as convincing as Boris Badenov in The Adventures of Rocky & Bullwinkle, but it also tips the film over into the land of the surreal.


Vidor made a great big color picture with an abundance of vivid American scenes but with a story so banal and tedious that the whole film seems one massive platitude.
The second and final collaboration between Kirk Douglas and director Richard Fleischer (Walt Disney’s sublime 20,000 Leagues Under the Sea was the first) stars one-eyed Douglas and his half-brother Tony Curtis as Vikings competing for the recently captured Janet Leigh, both reporting to their totally unhinged father Ernest Borgnine. Shot in color and CinemaScope in Norway by the great Jack Cardiff (The Red Shoes, The African Queen), The Vikings is a whirlwind spectacle built for the big screen in the same class as The Ten Commandments and Around the World in 80 Days (though much shorter). The interiors are even better, including a drunken feast in the great hall (complete with an axe-throwing competition) that prompted the New York Times to call the film “the best advertisement for beer-drinking since the breweries put wrestling on TV.” Orson Welles narrates.



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