Perry Kate Very very predictable, including the post credit scene !!!

Phonearl Good start, but then it gets ruined

Merolliv I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

Rio Hayward All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

margeauxann A great classic romantic drama set at the turn of the 20th century in Pittsburgh with memorable background music and terrific actors(Greer Garson, Gregory Peck, Daniel Crisp, Gladys Cooper, Marsha Hunt....). I wish this movie could be restored and made available for online streaming as well as a higher quality DVD. It's such a good film with an all star cast and deserves more recognition and a wider audience than it currently has. Highly recommend!

turley57 I viewed this movie and fell in love with the story of a family who owned a Pittsburg Steel Mill. What a great movie where determination and love of the steel mills helped preserve and shape the USA into a world power. The portrayal of steel workers along side the upper class was particularly interesting, because the owners are showed as observers and not really part of the sweat and steel, until Gregory Peck gives an awe inspiring speech about what its like working on the ground floor of a steel mill. I particularly enjoyed Gregory and Greer's on screen relationship and the difficulty of romantic relationships between two different classes. I thoroughly enjoyed this movie.

alimpaul Something about old films and the way the predictability does not inhibit viewing enjoyment. I really liked this movie and found it very strait-forward and pure. The acting was superb and the performances by Greer Garson and Gregory Peck were both fantastic as well as nice performances by the supporting actresses Marsha Hunt (Constance Scott) and Gladys Cooper (Clarissa Scott).A tale of and Irish-poor girl, Mary Rafferty (Garson), who finds love outside of her social status with Paul Scott (Peck), and heir to the families Steel fortune/mill...nothing real or avant-Gard happening but the truth of how love has no boundaries. I truly feel that this movie should be used as a blue-print to how Hollywood can portray a true love-without-boundaries type melodrama in the most exquisite and pure way.

Greg Couture Finally caught up with this one via a recent Turner Classic Movies broadcast and have to regretfully admit that I'm in the minority (i.e., negative) opinion here. I found it awfully disappointing in lots of ways, from the miscasting of the too-old-for-the-part and rather patrician Greer Garson (obviously photographed through the softest focus possible in several closeups), to the surprisingly paltry production values. The skimpy backlot work and the really wretched art direction (at least for a prestige M-G-M picture) were appalling. Only the women's costumes (by Irene) seem to be up to the standard that the other Metro artisans (cinematographer Joseph Ruttenberg, composer Herbert Stothart, et al.) usually achieve. And as for Tay Garnett's direction, oh my goodness! Gregory Peck, in what was only his second lead role in a major production, given too little to do; Dan Duryea managing little more than a reprise of his role as the family spoiler as in 1941's "The Little Foxes"; Lionel Barrymore totally, shamelessly out of control; Preston Foster, usually a stalwart asset, quite wooden and ineffective; the usually wonderful Jessica Tandy much too shrill; the very young Dean Stockwell allowed to be more than annoying; and only the peerless Gladys Cooper acquitting herself without dishonor. All in all not one of M-G-M's best examples of its glory days as Hollywood's preeminent major studio.