On Borrowed Time (1939)

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

The biggest problem with this movie is it’s a little better than you think it might be, which somehow makes it worse. As in, it takes itself a bit too seriously, which makes most of the movie feel kind of dull.

An old-fashioned movie made with new-fashioned finesse.

In order to clean up the play and make it suitable for all, M-G-M have reinforced what were originally only passing similarities to Cecil B. DeMille's old Broadway warhorse "The Return of Peter Grimm" which opened at the Belasco in 1911 and was subsequently filmed by RKO in 1935 with of course Lionel Barrymore in the lead. Because of these changes it's now difficult to separate the two movies. In fact, I always thought "On Borrowed Time" was a re-make of "Peter Grimm". Getting back to Paul Osborn's 1938 stage play, it's worth noting that chiefly because of its bad language (from both the old man and the young boy) but also no doubt because of its anything-but-traditionally-Christian view of the after-life, the play was banned in both England and Australia. Because of its derivation, the movie was banned also, although the British censor relented in 1946. It's hard to imagine the play upsetting people today, let alone the film. Certainly a very stagey affair, the movie does boast some exciting performances - particularly Beulah Bondi, faultlessly altering the timbre of her voice and superbly made up to look more than twice her real age - though Bobs Watson tends to outstay his ability. Direction is as dull as you might expect from the usually uninspired Harold S. Bucquet (pronounced Biew "to rhyme with view" Kay), and the photography by Joseph Ruttenberg, outside of a few exquisite moments at the very beginning, is surprisingly flat. Likewise the sets are unnecessarily drab, the special effects poor. Having shelled out a fortune to buy the hugely successful play, M-G-M were obviously determined to make the screen version on the cheap. Barrymore lets loose with an exaggerated reprise of his 1935 Peter Grimm, which emphasizes the fact that the writers have done almost nothing to disguise the script's stage origins. (The screenwriters based their script on the play by Paul Osborn, rather than on the original novel by Lawrence Edward Watkin). Nevertheless, as the Prologue is quick to point out, the story does have a certain fascination in itself, which no amount of incompetence can entirely dim.

This is quite an impressive little film dating from 1939. Set in a small-town there are quite a few stereotypes here, but not bad ones. You've got Lionel Barrymore as the grandfather of Bobs Watson, raising the boy after both parents died in a car accident. You've got the wonderful Beulah Bondi as the grandmother, and way older than her years here...even more so than in most of her films. And, you've got death -- Sir Cedric Hardwicke -- not unlike the role in "Death Takes A Holiday" or "Meet Joe Black".One day Death comes for Gramps, who orders Death off the property, not knowing who he is. So, Death takes Granny. But Gramps has also made a wish that anyone who climbs in his apple tree will be stuck up there until he wishes him down...and that's where Death finds himself.Meanwhile, Bobs Watson's aunt has designs on the money left him by his parents, and Gramps must fend off the aunt's efforts to adopt Watson.Death is now stuck in a tree and can't take anyone...even those who are suffering. So, how does Death get down from the tree? And who dies? And is it bad? There really is lots to think about here in what was actually a rather minor film. I guess if there's anything a little annoying in the film it's Bobs Watson. He's a good little actor, but a little Bobs Watson goes a long way...especially for well over 90 minutes.Nevertheless, this film is worth watching. As I said, lots to think about, and Lionel Barrymore is simply fascinating to watch, here though he was so crippled that they had to fake his walking in the scenes at the very end of the movie. There are some swell performances by supporting actors as well -- Henry Travers (as always) and Una Merkel, particularly.Well worth watching, although the pace could have been slightly quicker.

I often times like to look at reviews of movies that I truly enjoy. On Borrowed Time has been a long time favorite because it has charm, a good story, excellent acting and brings out an emotion in the watcher. I found it odd that some people had serious issues with this movie so I did a little research on them. I have no idea why someone like BaronBl00d would bother with this movie since he likes the nasty chop em up, blood and gore horror flicks. Of course he brings down the rating as do other snobs of his ilk. Just double check what the nay sayers are watching and what they like. I could personally hop on every horror movie and rate it a zero.

I first saw this jewel on TV as a child in 1950's Missouri... probably some Saturday afternoon when one of the 3 available stations had nothing else to show. It stuck with me, embedded itself in my heart and soul.I later directed a scene from the published script in college as a Directing Class project.Many years later when I was between 36 and 40 years old, I showed it to my new life partner (we've been together now for 26 years) and we cherish it together as an important part of our lives.There's no way to describe the "heart" in this marvel of a film: you have to see it. You'll be left with a feeling of love, fulfillment, joy and a sense of "justice achieved". If you can force your child to sit and watch a Black and White movie (sigh!) he/she will thank you in the future. It will not be forgotten by you or your child.