Tedfoldol everything you have heard about this movie is true.

Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

JohnHowardReid I'm sorely tempted to side with two of the previous reviewers and give this movie a nil rating, but it's not really all that bad! Copyright 1955 by 20th Century-Fox Film Corp. New York opening at the Roxy: 11 March 1955. U.S. release: 3 March 1955. U.K. release: July 1955. Australian release: 4 August 1955. 111 minutes. Censored to 109 minutes in the U.K.SYNOPSIS: Katie O'Neill (Hayward) meets Paul Van Riebeck (Power), a South African Boer bigwig, when he comes to Ireland to buy horses. They fall for each other, but Paul does not want to get married until he establishes a Boer state in South Africa. COMMENT: Impossibly trite. For once it's easy to choose the movie's worst feature. The banal script wins hands down over the hammy and amateurish acting and the consistently lackluster direction. The plot is, to say it as kindly as possible, such utterly ridiculous tosh, even the most unsophisticated audience would laugh it off the screen. It's also racist and badly dated. If were not so laughably unbelievable, it would have been blandly offensive. What passes for characterization are actually the most superficial and poorly motivated of cardboard figures. Even worse is the dialogue which for sheer banality and lack of drama would be difficult to match.Admittedly, the story, poorly motivated though it is and proceeding in a series of fits and starts, does lay on a bit of action and it is set against some awesome and fascinating backgrounds. But the actors were handed an impossible task to bring warmth and sympathy to such posturing, paste-board characters. Susan turns on all the synthetic mannerisms at her command; Egan grimaces and rants; Power just says his lines. The support cast players have little impact. King's direction is dull and even some of the action scenes are limply staged. The film runs on and on, seemingly without end. Despite some obvious back projection, the locations rather than the actors or the story, make the most impression.

edwagreen It takes the great Irish Potato Famine of the 1840s to drive Susan Hayward and her new husband along with their baby out of Ireland and having heard all about South Africa from the dashing Tyrone Power who had previously visited her father, they embark there.Of course, Hayward conveniently meets up with Power there and decides to get free territory there. How convenient that Sean, her husband, gets killed and Hayward is left to become impregnated by Power.Power, as the leader of the Free Dutch has no time for Hayward and she then falls for Richard Egan, the heavy in the film. Rita Moreno is as fiery as ever but is given little to say or do here. Her jealousy of competitor Hayward is from the moment she sees her.Power learns of his son and Egan, now as evil as they come, still wants Hayward.The lavish cinematography and endearing story make this one interesting film.

MARIO GAUCI This is surely one of the Tyrone Power vehicles that's most shown on Italian TV (in fact, it was re-proposed just last week) – but I'd somehow never bothered to watch it. Having had a recording of the film for some time, I now opted to check it out as part of my brief tribute to the popular matinée idol on the occasion of the 50th anniversary of his untimely demise. Well, I must say that I really enjoyed the film for reasons I'll get to later – which makes its absence on DVD more than a little baffling; incidentally, it was the tenth of Power's eleven collaborations with director King (the following effort, THE SUN ALSO RISES [1957], is perhaps the one I'd love to watch most of the star's remaining titles) as well as the second and last in which Power is co-starred with Susan Hayward (after the excellent suspense Western RAWHIDE [1951]).Anyway, the film is an interesting (and mainly successful) mishmash of genres: part offbeat Western (with a wagon train beset by Zulus rather than Indians!), part epic adventure (even if the widescreen aspect ratio in the edition I watched wasn't quite the full 2.55:1 format of its original presentation), and part 'woman's picture' (despite Power's top billing, he's off-screen for long stretches at a time, so that Hayward emerges as the real protagonist – given also that she's involved with three men and undergoes many a hardship during the course of the film). While the plot is thoroughly predictable (and, yet, therein lies part of its appeal), it's made with the customary professionalism one associates with the golden age of Hollywood; thus, we're treated to a handsomely-shot large-scale entertainment – complemented by a fine Franz Waxman score which goes from lush to emphatic or rousing, depending on the mood of any given scene.Among the undeniable highlights in the episodic narrative (which spans several years) are: the opening fox hunt in Ireland, which sees hero and heroine alternating between squabbling and loving; the afore-mentioned ambush of the 'pioneers' in which Hayward's staid husband John Justin is killed; Power (who neglects Hayward through his struggle for the Boers' independence) engaging in a whip-wielding duel with his romantic rival and former best friend Richard Egan (himself lusted after by a young Rita Moreno); Egan having his leg crushed by a tree he's trying to fell (symbolizing Hayward's affair with Power) during a thunderstorm; and the climactic clash between bitter, peg-legged Egan's outlaws and the natives led by the obviously virtuous and rugged Power. The finale, then, has the hero relinquishing (not without a certain remorse) his political career to make up to the long-suffering heroine – especially since their past dalliance had borne him a son (with whom he also shares his name) he was unaware of.

dbdumonteil Henry King is ,par excellence, the director of the storybook works.The titles speak for themselves,particularly in this phase of his career ,the fifties:"the snows of Kilimandjaro" (1952),"love is a many splendored thing"(1955)"The sun also rises" (1957) and "tender is the night" his final effort (1961).All these movies feature some of the most beautiful actresses that Hollywood has ever known:both Hayward and Gardner in "kilimandjaro" ,Gardner alone in "sun" ,Jones in "love" and "night".Susan Hayward is the star here.She plays a bold and impetuous heroine,a la Scarlett O'Hara,with whom she shares the Irish blood.Like her,she's always compelled to pick up the pieces and she does it with persistence. Like her she becomes a merry widow very soon.Tyrone Power( one of King's favorites:"Llyod s of London (1936)"captain from Castille (1947)"prince of foxes"(1949)and finally the impotent officer in "sun also rises")is the noble hero,full of panache.His parts look like each others in King's movies.Richard Egan has the only ambiguous role:generally cast as the villain ,he shows a friendly side in the first part.But what matters is the cinematography:using the cinemascope as few can do,Henry King work wonders when it comes to directing movements in the crowd:the Zulu's attack ,with its splendid panoramic shots displays an extraordinary sense of space.A gigantic African western in which the Zulus play the part of the Indians.Another sublime plan :the tree struck by lightning during the fight Heyward/Egan.Detractors will say that psychology is not King's forte:they simply do not understand that the interest does not lie in the characters but in their confrontation to a hostile environment .Actually the beauty of the landscapes enhance the characters who've got to rise to the occasion.In 1992,Ron Howard casts Nicole Kidman and Tom Cruise in "Far and away".OK they sail for America,but they are Irish and they start over in a new land.Nothing really changes.